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JANUARY 1, 1962

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Mrs. Juanita Belleville (left)

and Mrs. Juanita Foree, of Alcoa, Tenn.,

saw their first drive-in theatre

14 years ago, and were so fascinated

by it that they decided to make

a shoestring investment in one.

Although they knew nothing about building
a theatre, and less about operating one,
they took on both chores and made
a success of their venture. Today,
they operate seven indoor and outdoor
theatres in Tennessee and Georgia, for which
they do all the buying and booking.

Story on Page 18

Commerce Dept. Says
62 Gross Will Top
i Record 61 Mark

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Page 11

LET US ALL

ONE

AND ALL TOGETHER

(AND AS NEVER BEFORE)

BIG BOOSTERS
FOR OUR
BUSINESS!

WISHES ONI
AND ALL A
HAPPY NEW
YEAR -AND
ANNOUNCES
THAT THEY
ARE NOW
BOOKING
THESE GREAT
ATTRACTIONS

FROM FEB.F
TO EASTER

mam

METRO

J GOLDS' VN
| MAYER

presents

A JULIANS
BLAITSTE1N

PHKt»rttoll
directed b)

VINOENTE
MINNELLI

Paris, city of lovers... the day the clocks stopped turning and the world stood still...

Metro -Goldwyn- Mayer presents

WARREIM

BEATTY

KARL

MALDEN

GLENN FORD • INGRID THULIN ■ GHARLES BOYER • LEEJ.C0BB • MLHENREID

screen play by oasec on (he novel by _

co-starring PAUL LUKAS -YVETTE MIMIEUX ■ KARL BOEHM • ROBERT ARDREY^JOHN GAY VICENTE BLASCO IBANEZ

m CINEMASCOPE METROCOLOR

EVA MARIE
SAINT

Male
enough
for a
dozen
women

not
man
enough
for
one !

CO-STARRING

ANGELA

LANSBURY

BRANDON

deWILDE

screenplay by based on the direoted by produced by

/ILHAM INGE • james leo'herlihy • JOHN FRANKENHEIMER • JOHN HOUSEMAN * alex north

METRO

GOLDWYN

MAYER

PRESENTS AN

ARTHUR, FREED

PRODUCTION

LigMl
in ~

A new love
An old love...
In the only city
in the world
where they
could have
happened !

1 OLIVIA

de HAVILLAND

ROSSANO

BRAZZI

YVETTE

fl|

I B

GEORGE

HAMILTON

and co-starring Q^PPY

SULLIVAN

■

„ JULIUS J. EPSTEIN ELIZABETH 3 spencer GUY GREEN

screenplay

CINEMASCOPE METROCOLOR

Metro-Gold wyn- Mayer

presents

RAUL NEWMAN

ALDINE PAGE

Based on the Play .

TENNESSEE WILLIAMS *

CO-«TAHMM9

SHIRLEY KNIGHT' ED BEGLEY' RIPTORN

MUDREO OUNNOCKMADELEINE SHERWOOD

written tor the screen aod directed

RICHARD BROOKS _b,PANDR0 S. BEE

•c

METR0-60LDWYN-IWER

presents

A EUTERPE Production

c omedy team

screenplay by ULUIMJL VV LLLO
based on the novel “The Bottletop Affair" by GORDON COTLER

produced by

directed by

produced by

METRO-GOLDWYN-MAYER

presents

AGATHA CHfUSTIE's " Mill) VIE D

SHE SaiD.

STARRING

MARGARET ^ARTHUR MURIEL Quest Star units

RUTHERFORD KENNEDY • PAVLOW ROBERTSON-JUSTICE

GEORGE BROWN

STARRING

screenplay by

produced by

directed by

m •

LETTERS

Points Up Some Business Wrongs

My partner and I have been in show
business for just a few years, but long
enough to see this business, on the whole,
go from the silly to the slime. I would
love for someone to ask me what is wrong
with this business. I think the following
would be a few of the answers:

1. Why did we kick our main supply in
the pants — the producer? We took his the-
atres away from him and said, “You make
them and we will show them. You can’t
have any profit on your product.”

So what does Mr. Producer do and say:
“To hell with you” and makes his best
product for TV. Why shouldn’t he? He
doesn’t have any theatres to worry about
keeping first-class mass appeal pictures in
any more.

2. It has been my main thought that the
theatre in any town is a business like any
other business in any town. I have never
seen the dry goods store say to the barber
shop, “Put a sign up in my store and pay
me a high price so my customers will come
to your shop.”

3. I wish the people who are responsible
for the advance advertising on pictures
would produce and distribute the picture.
They certainly have the ways to get the
masses ! But what do you get when you see
the pictures now? A big letdown on most
of them.

4. Where does the exhibitor have any
rights over his product? You are sold a
picture for a few days. God only knows
what is going to happen to that picture just
before or just after you play it.

In one case a company was releasing a
big picture in this area just before a the-
atre was to play it. Six different high
schools had a 16mm print of the picture
and were showing it for a 25 -cent
admission.

And, of course, everyone knows about the
Saturday Night at the Movies in glorious
Cinemascope (color by De Luxe) and four-
track stereo sound, all on TV.

Well, there went eight years of Cinema-
Scope, stereo and color by De Luxe down
the drain, for theatres.

I haven’t seen a picture yet on this pro-
gram that I would turn down playing in my
theatre, especially with the product short-
age now.

Maybe this company was forced to sell
by the board of directors. Why, oh, why
couldn’t they come to theatres and sell this
product, and keep it within our industry?
But this company’s salesman hasn’t been
to see us since last April!

5. Does this industry have room for just
one Mr. Disney? Why can’t more com-
panies make pictures for the masses and
sell them to the masses as Mr. Disney does?
I’m sure these pictures wouldn’t cost much
when you have a car company advertising
its product throughout the film takeup
with its cost!

Why are people buying Mr. Disney’s pic-
tures? Maybe it’s because people want to
see something clean. No sex, no slime, no
sex promotion, no dirt, no cussing ! Because
they get enough of that in real life. And no
matter how much you want to make a pic-
ture like life, a film can never capture real
life ! Let’s keep mass entertainment for the

(Letters must be signed. Names withheld on request)

masses and give the masses, not the few,
what they want to see !

Product shortage? Right now, all the big
pictures of the year are out. Many we
could play in our theatre Christmas and
New Year, but no dice. We are playing a
six-month-old picture on Christmas and
a second-run on New Year’s because we
cannot touch any of the new product that
was released for us over the holidays.
Tradepress ads always say, “Contact us
now and date.” Yeh! Six months later.
We are a county seat and first-run house,
I thought.

RICHARD L. COSBY

Indiana Theatre,

Salem, Ind.

Tribute to Universal

Although I am no longer a member of
the motion picture industry — even though
Boxoffice usually makes me feel I am, I
had some reflective thoughts when I read
your editorial about Universal’s forthcom-
ing 50th Anniversary. That means the
company was formed in 1911 — where does
the time go?

By the time I was eight years old, I had
developed an insatiable interest in the mov-
ies. Whenever I could afford to go, which
wasn’t very often, I’d sit through two per-
formances; and whenever I couldn’t go, I’d
stand outside (in the summer, of course)
and steal a few looks until I was shooed
away.

Because of my curiosity, I made it a
practice to scavenge the trash bin behind
the theatre in our town in search of a dis-
carded piece of film which I could study,
or reading material which I could pore
over at my leisure.

One publication I always enjoyed was
the Universal Weekly, and the feature that
gave me the greatest pleasure was the
weekly “Straight From the Shoulder Talk”
by Carl Laemmle. Maybe I was too young
to understand everything he said, but he
wrote so simply and straightforwardly that
“bread-and-butter” and “brick-and-mor-
tar” phrases made their impression upon
me, and I have never forgotten them. If I
had been old enough, and had operated a
theatre, Mr. Laemmle would have had an-
other buyer of his product.

Of course, in succeeding years, glamorous
Paramount with DeMille, Valentino, Swan-
son, etc., and star-studded MGM with
Garbo, Gilbert, Novarro, Crawford, Shearer,
etc., dazzled me and pushed Universal
somewhat into the background. But I
never forgot “Merry-Go-Round,” “Hunch-
back,” “ King of Jazz” and other enter-
taining Universal films, and I have always
had considerable admiration for the com-
pany because of its success in catering to
public tastes.

To be 50 years old and doing well, to
have survived revolutionary changes and
developments, to have overcome economic
and financial hurdles, is a tribute to the
men behind the company who have car-
ried on the principles and practices set
down by Carl Laemmle in those “Straight
From the Shoulder Talks.”

RALPH COKAIN

166 E. 35th St.,

New York, N. Y.

Reach the Lost Audience Via TV

I was very much interested and im-
pressed by your editorial, issue of December
11, pertaining to Star-Building “Crusade.”
This is something this industry needs badly
at this time. However, I would like to ask
a simple question: What good will it do to
show these two-reel star-building subjects
in the theatres, if the largest percentage of
the public is home watching the TV
programs ?

Most of the people we meet in our towns
are thoroughly acquainted with the TV
personalities and know absolutely nothing
about most motion picture theatre movies!
Let us ask ourselves why is it they know the
Disney pictures? And, incidentally, the
Disney product will outgross every time the
other motion pictures. Why? Because Dis-
ney uses the national prime time TV to put
over his product.

Seems to me — going back to your edi-
torial, paragraph two — this would be a
good means to obtain funds for the purpose
of putting this star-building crusade on
national prime time TV. Then, and only
then, will we be able to bring back that lost
audience to our theatres.

CAESAR BERUTT
Berutt & Wandel Theatres,

Rolla, Mo.

A Veteran Director Speaks

Thank you for your kind letter of No-
vember 21. There comes a time in life
when one starts thinking of calling it quits
in the business world. For yours truly, this
coming January will record 50 years of
service in the motion picture industry.
The records will show that I started in
1912 at the Edison Studio in Fordham, N.
Y. Believe me, I have seen a lot come and
go in our business.

The last picture I directed was “Atomic
Submarine” for Allied Artists in June 1959.
You see, I have been submerged for over
two years, and the prospects of surfacing
at this time is very doubtful, particularly
when one reaches the age of 69. Thank
God I am in good health. Play hand-ball
every day — have been for the past 35 years.
At least I am enjoying my retirement.

As for Boxoffice : Let me say that it has
been “The Pulse of the Motion Picture In-
dustry” for me for many, many years. I’m
sure the years I have been a subscriber is
proof of that fact. The time has come for
me to step aside and let the younger guys
take over. General MacArthur said “Old
soldiers just fade away” and I say that di-
rectors, actors, etc. just “dissolve out.”

SPENCER G. BENNETT
Los Angeles, Calif.

Jack Schlaifer Joins MGM

NEW YORK — Jack Schlaifer, veteran
sales executive, has joined Metro-Goldwyn-
Mayer and will devote his time to inde-
pendent distributor operations, handling
the rereleases of top product.

Schlaifer has been in the industry for
more than 30 years during which time he
was general sales manager of Universal,
western general sales manager of United
Artists and general sales manager of Eagle
Lion. He formed his own company. Jack
Schlaifer Associates, in 1950.

BOXOFFICE :: January 1, 1962

IN ACADEMY AWARD OPENING!

♦CALL THE EL REY THEATRE FOR THE SUCCESS STORYI

Watch “The Innocents " Possess N. V.
Double Premiere at Criterion and
72nd St Playhouse!

THE NATIONAL FILM WEEKLY

Published in Nine Sectional Editions

BEN SHLYEN

Editor-in-Chief and Publisher

DONALD M. MERSEREAU, Associate
Publisher & General Manager
NATHAN COHEN. .Executive Editor

JESSE SHLYEN Managing Editor

HUGH FRAZE Field Editor

AL STEEN Eastern Editor

WILLIAM HEBERT. .Western Editor
I. L. THATCHER. .Equipment Editor
MORRIS SCHLOZMAN Business Mgr.

Publication Offices: 825 Van Brunt Bird.
Kansas City 24, Mo. Nalban Cohen, Ex-
ecutive Editor; Jesse Shlyen, Managing
Editor: Morris Schlozman, Business Man-
ager; Hugh Fr&ze, Field Editor; I. L.
Thatcher, Editor The Modem Theatre
Section. Telephone CHestnut 1-7777.
Editorial Offices: 1270 Sixth Ave., Rocke-
feller Center, New York 20, N. Y. Donald
M. Mersereau, Associate Publisher k
General Manager; A1 Steen, Eastern Edi-
tor. Telephone COlumhus 5-6370.

Central Offices: Editorial — 020 N. Mich-
igan Ave., Qilcago 11, 111., Frances B.
Clow, Telephone Superior 7-3972. Adver-
tising — 5809 North Lincoln, Louis L) Idler
and Jack Broderick, Telephone LOngbeach
1-5284.

Western Offices: Editorial and Film Adver-
tising — 6404 Hollywood Blvd., Hollywood
28, Calif. William Hebert, manager, Tele-
phone Hollywood 5-1186. Equipment and
Non-Film Advertising — 672 S. Lafayette
Park, Los Angeles, Calif. Bob Wett-
stein, manager. Telephone DUnklrk 8-2286.
London Office: Anthony Gruner, 1 Wood-
berry Way, Finchley, No. 12. Telephone
Hillside 6733.

The MODERN THEATRE Section Is In-
cluded In the first Issue of each month.

Atlanta: Jean Mullls, P. 0. Box 1695.
Albany: J. 8. Conners, 140 State St.
Baltimore: George Browning, 119 E.

25th St.

Boston: Guy Livingston, 80 Boylston,
Boston, Mass.

Charlotte: Blanche Carr, 301 S. Church
Cincinnati: Frances Hanford, UNlverslty

1- 7180.

Cleveland: W. Ward Marsh. Plain Dealer.
Columbus: Fred Oestrelcher, 52% W
North Broadway.

Dallas: Mable Outran, 5927 Wlnton.
Denver: Bruce Marshall, 2881 8. Cherry

Way.

Des Moines: Pat Cooney, 2727 49th St.
Detroit: H. F. Reves, 906 Fox Theatre
Bldg.. WOodward 2-1144.

Hartford: Allen M. Wldem, CH 9-8211.
Indianapolis: Norma Geraghty, 436 N. Il-
linois St.

Jacksonville: Robert Cornwall, 1190 Edge-
wood Ave.

Memphis: Null Adams, 707 Spring St.
Miami: Martha Lummus, 622 N.E 98 St.
Milwaukee: Wm. Nlcbol, 2251 8. Layton.
Minneapolis: Don Lyons, 72 Glenwood.
New Orleans: Mrs. Jack Auslet, 2268%
St. Claude Ave.

Oklahoma City: Sam Brunk, 3416 N. Vir-
ginia.

Omaha. Irving Baker, 911 N. 51st 8t.
Philadelphia: A1 Zurawskl, The Bulletin.
Pittsburgh: R. F. Kllngensmlth, 616 Jean-
ette, Wilkinsburg. CHurchill 1-2809.
Portland. Ore.: Arnold Marks, Journal.
Providence: Guy Langley, 388 8ayies St.
St. Louis: Joe & Joan Pollack, 7335
Shaftsbury, University City, PA 5-7181.
Salt Lake City: 11. Pearson. Deseret News.
San Francisco: Dolores Baruscb, 25 Tay-
lor St., ORdway 3-4813; Advertising:
Jerry Nowell, 417 Market St., YUkon

2- 9537.

In Canada

Montreal: Room 314, 625 Belmont St.,
Jules Larochelle.

St John: 43 Waterloo, Sam Babb.
Toronto: 2675 Bayvlew Ave., Willow dale,
Ont. W. Gladlsh.

Vancouver: 411 Lyric Theatre Bldg. 751
Granville St.. Jack Droy.

Winnipeg: 93 Albert St, Barney Brookler.

Member Audit Bureau of Circulations

Second Class postage paid at Kansas City,
Mo. Sectional Edition, $3.00 per year.
National Edition, $7.50.

JANUARY 1, 1962

Vol. 80 No. 11

A VIEW FOR '62

A S IN every year since the beginning of
this industry, 1961 saw many changes
take place, yet much remained the same. Progress
was evidenced in a number of directions, but
where the industry stood still, as it were, there
were retardent effects that will continue, unless
these “drawbacks” are overcome. A new year
provides a fresh start for the build-up of busi-
ness all along the line and an opportunity to
profit by mistakes of the past. Thus, what not to
do plays as important a part as knowing what to
do.

Two years of the decade of the Sixties have
seen new policies introduced that were designed
to keep pace with the times and their demands.
So doing meant acceding to the public’s wishes
for improvement in the industry’s entertainment
offerings and catering to tastes indicated by what
types of pictures they patronized. Thus, the trend
toward spectacles of roadshow caliber, which
went far beyond any similar moves made in the
past. Two-a-day showings at advanced prices
reached new high points in number; resultantly,
the long-extended runs had a bearing on total
product output, and policies and practices, long
in vogue, were deemed outmoded. This had both
good and bad effects.

The good was that the public would pay top
prices for the bigger, better pictures and that
the high-powered productions and the big pro-
motions that attended them attracted new, as
well as high volume, patronage. The bad was the
upsetting of orderly releasing patterns and the ef-
fect this had on regular theatre attendance. Plans,
of course, were designed to overcome this con-
dition, among them the saturation booking
scheme but, successful as this was, it, too, had
an adverse effect when product irregularity cut
into the steady flow of patronage.

The experience of the past two years has
taught that the public will respond to the appeal
of good pictures, regardless of type, and to good
campaigns put forth in their selling. When the
offerings are judiciously spaced and paced and
they are made more widely available, an accrual
of values is provided, with a resultant increase in
public interest and patronage. However, when
good pictures are bunched in release and given
fast play-offs, followed by long dry spells in
which exhibitor^ have virtually nothing to sell,
the continuity of patronage so much desired —
and needed — is thus destroyed. The task of the-

atre operation then becomes more difficult and
the profits derived from the bigger attractions
are dissipated. Production and distribution also
are affected thereby.

Further examining of the record of the past
year reveals that, on the whole, it was better
than the previous year. There were marks of
progress in a number of directions. Despite the
drawbacks, there was an upsurge of confidence,
particularly on the part of exhibitors who made
substantial investments in updating and refur-
bishing their properties and in new theatre build-
ing. The attendance draw in these instances was
most encouraging, indicating that interest in
moviegoing still was very much alive — it needed
only to be rekindled. The quantity of quality
productions had increased and was generally
giving good accounts at the boxoffice. Several
film companies had attained all-time high in-
comes and net profits. Dollar intake for the
industry as a whole also had shown marked im-
provement.

On the debit side, the production output, al-
though up a bit, still was below the need. At-
tendance is reported to have shown a rise over
that of the previous year, but it was markedly
short of paralleling the percentage of increase in
overall gross intake. Therein lies the crux of
the problem which the collective industry must
solve in 1962 in building solidly for its future.
And with that, of course, must come a fair re-
turn for those putting forth the effort. The tri-
umvirate of production, distribution and ex-
hibition must work more closely together than
ever before — as a team. It must seek not only the
high dollar, but also the high volume of at-
tendance, remembering that there is “safety in
numbers.” It must vigorously proceed in a uni-
fied effort to increase the margin of safety that
strong attendance provides; to consolidate the
gains made in the past year and to keep ad-
vancing along every line of public contact, the
prime point of which is the boxoffice.

The industry’s progress in 1961 can be added
to in considerable measure in 1962 and through-
out the rest of the decade of the Sixties, if each
of its principal components will unbend a little,
be more willing to give as well as take and work
more diligently — hand-in-hand with the others
— for the common good.

SKOURAS' 20 YEARS AT 20TH
TO GET GLOBAL CELEBRATION

Young stein to Cinerama
In Top Executive Post

13- Week Drive to Honor
His Contributions to
Industry's Progress

NEW YORK — An intercorporate world-
wide celebration of Spyros P. Skouras’
20th anniversary as president of 20th
Century - Fox was
launched over the
weekend by the com-
pany and its global
subsidiaries.

The celebration, to
run 13 weeks, was
created as a mark of
appreciation for what
the widely respected
president of the com-
pany has done for
the motion picture
industry and 20th-
Fox. According to Glenn Noms, general
sales manager of the company, the idea
was instigated by exhibitors themselves,
who have expressed this appreciation dur-
ing his recent swings around the country.

MICHEL IS CHAIRMAN

William C. Michel, executive vice-presi-
dent of the company, will serve as world-
wide chairman of the celebration and will
oversee all aspects of the campaign, both
domestic and overseas. Michel initiated the
campaign idea of honoring the president
of the company and expects to travel
throughout the country and, possibly,
abroad to stimulate interest in the various
events to be staged during the 13-week
period.

Norris stated that the product of the
company to be released during the three
months had “the greatest potential” 20th-
Fox has ever offered the motion picture
industry.

“I believe neither we nor any other
company has ever had so many strong
potential pictures to offer in so short a
period,” he declared.

WILL PROVIDE MOMENTUM

“The 13-week celebration will provide
the organization with continuing momen-
tum which will carry it through to the end
of the year, thus fulfilling the arive on
all 20th-Fox fronts,” Norris said.

In launching the celebration, Norris
spoke with all 38 branch managers over a
nationwide telephone hookup, stressing
that the branches collectively and indi-
vidually can contribute substantially to the
success of the drive.

Skouras has been an industry figure since
1914 when he operated his first theatre
in St. Louis. He was in the exhibition field
until called to the 20th-Fox presidency in
1942.

Rites for Martin Murphy
HOLLYWOOD — Funeral services were
held Tuesday, December 26, for Martin
Murphy, 72, former vice-president in
charge of production for Universal Pictures.

NEW YORK — Max E. Youngstein this
week will become executive vice-president
of Cinerama, Inc.,
and president of
Cinemiracle Interna-
tional Pictures, a
Cinerama subsidiary.

The veteran pro-
duction and distri-
bution executive of-
ficially terminated his
ten-year association
with United Artists
December 31, al-
though he had for-
mally announced his Max E. Youngstein
intentions to retire as

UA’s executive vice-president several
months ago.

Nicolas Reisini, president and board
chairman of Cinerama, Inc., held a press
conference December 28 at which it was
announced that Youngstein would join the
company in a top executive position. He
said the appointment came after several
months of negotiations.

Although Youngstein’s name has been
most prominently mentioned in a deal
which would have given him control of
Allied Artists, he revealed at the press con-
ference that he had received approximately
20 offers since he announced his resigna-
tion from United Artists. He accepted the
Cinerama offer, he said, because it was a
challenge and that it represented a new

ATLANTA — Cooperation of exhibition
with production and exhibition in seeking
solutions to industry problems will be a
keynote of Theatre Owners of America’s
program during 1962, John H. Stembler,
president, said in a yearend statement.

Stembler said that exhibitors had rung
out 1961 as another difficult transitional
year, when, despite a continued acute
shortage of product which affected all their
activities, most of them still were able to
hold their own or finish the year with
grosses slightly better than 1960’s and with
attendance gaining just a little over the
preceding year.

“I believe most of them feel as I do
about 1962 — that there is reason for cau-
tious hope for still further improvements,”
Stembler said. “Hollywood’s production fig-
ures indicate some small gain over 1961’s
very meager 230 releases is possible. Ex-
hibition’s own A.C.E. Films could get under

concept in the industry.

Youngstein will be active in every phase
of Cinerama operations, including the
development of a single-lens system, a new
Cinerama still camera, activities in the
field of “space films” (for which the com-
pany has developed a special lens), a
camera and projector for use by the gov-
ernment at the Seattle World’s Fair this
year and the production of features in as-
sociation with MGM.

“All this necessitates our having a man
who will be able to take the second-rank
position in the company and be active in
it,” Reisini said.

Exhibitors all over the country are in-
terested in building theatres that are de-
signed for the showing of Cinerama pic-
tures exclusively, Reisini reported. The
Cooper Foundation now has one in Denver
and is building another in Minneapolis.
Other prominent theatremen who will be
investing in Cinerama theatres are Julius
Gordon of Texas, E. D. Martin of Georgia,
Gordon & Lockwood of New England and
National Theatres.

Reisini also announced that 60 Cinerama
theatres would be in operation by the end
of July, shortly after the opening of
Cinerama’s first feature, “How the West
Was Won,” scheduled for July 4 premieres.
“The Wonderful World of the Brothers
Grimm” will open later in the year.

Currently, there are 29 Cinerama the-
atres in the U.S. and 23 overseas.

way in the year ahead, with material effect
upon production. TOA will take positive
action to try to prove to Hollywood that
money can be made by major releases in
non-holiday periods.”

Stembler said pay TV still was not in
operation in the United States and there
was nothing to indicate that it could get
underway in an appreciable force in 1962
so long as the active opposition continued.
He said TOA’s record in combating cen-
sorship was good enough to hope the mo-
mentum would be sustained.

“Our great hope for 1962,” Stemler said,
“is that further real progress can be made,
toward industry cooperation. It behooves
production and distribution, for their own
self-enlightened interest, to work more
closely with exhibition. Exhibition, in turn,
must act in an equally responsible and co-
operative manner in seeking solutions to
our industry’s problems.”

Spyros P. Skouras

Industry Cooperation to Be a Keynote
Of TOA's Program , Stembler Says

BOXOFFICE :: January 1, 1962

Department of Commerce Forecast

GOOD YEAR COMING UP IN ' 62 ;
UPBEAT ON GROSSES, PRODUCT

William Hebert Joins BOXOFFICE
As Western Editor and Manager

$1.5 Billion Boxoffice
Take Best Since '48;
Attendance Rising

WASHINGTON — The outlook for the
motion picture industry in 1962 is, in one
word, rosy.

On the prediction of the scientific,
photographic and business equipment sec-
tion of the Department of Commerce, box-
office receipts at United States theatres
during the next year should top the esti-
mated $1.5 billion gross for 1961 which, in
turn, was 7.6 per cent above the $1.39 bil-
lion of the preceding year. The Depart-
ment sees further improvement in the next
12 months.

MANY REASONS FOR OPTIMISM

Not since 1948 have theatres reported a
$1.5 billion gross, and the 1961 figure was
achieved with fewer theatres in operation.

The Commerce Department is looking at
an improved 1962 for a variety of reasons.
For one, Department officials with a spe-
cial interest in the motion picture in-
dustry appear to be confident that the
downward pace in theatre attendance
definitely has been reversed. Three con-
secutive years of rising patronage indicate
this shift. Average weekly attendance in
the first nine months of 1961 averaged 44
million, 1.8 per cent above the same period
the preceding year. This is up from 40
million in 1958, 42 million in 1959 and 43.5
million in 1960.

Another reason for the Department’s
optimism is the production outlook. The
downward trend here, too, seems to have
been blunted, and the government agency
expects 1961 to wind up with picture-
making at the 185-190 level. In 1960, the
studios turned out between 165-170 pic-
tures. The accelerated activity on the
Hollywood sound stages and at overseas
filmmaking facilities is expected to con-
tinue in the new year, and several unidenti-
fied major circuits are reported by the De-
partment to base their 1962 optimism on
the prospects of increased production.

SEE 60 FEATURES IN EARLY ’62

The Department calls the 1962 outlook
“promising” and looks for longer runs for
more pictures “at higher prices.” Eight
major companies will have approximately
60 features available for distribution in the
first months of the year, a step-up in pro-
duct which should be particularly helpful
to theatres in smaller towns which need
several changes a week, it was pointed out.

This rise in production will be reflected
in the foreign, as well as the domestic,
market. U.S. producers and distributors
will get between $220 million and $225 mil-
lion in overseas remittances in 1961, a sig-
nificant volume in face of continued re-
strictions in some countries on both re-
mittances and imports of American films.
The Department notes that “in general,

HOLLYWOOD — William Hebert has
been appointed Western Editor and Man-
ager of Boxoffice. Long established with-
in the industry as an executive, writer and
public relations counsel to major producers,
stars and industry-allied enterprises, he
assumes at once the duties held by the late
Ivan Spear for 26 years.

Following his graduation from the Har-

WILLIAM HEBERT

vard and Boston University Graduate
Schools, where he received an M.A. in Eng-
lish, Herbert joined the staff of the Boston
Record as a columnist and feature writer,
where he remained for several years before
being transferred to New York and King
Features Syndicate, owned by the Hearst
organization as is the Record, where he
wrote daily and Sunday features for
national syndication.

He came into the industry in 1935 via

foreign audiences show a strong prefer-
ence for U.S. films.”

Likewise, audiences in this country are
seeing more- foreign pictures, “partly be-
cause fewer U.S. feature films have been
available.” It is estimated that about 500
so-called art houses play imports on a
regular basis, but many others use the
foreign product to fill out programs. Dub-
bing films into English is another factor in
the increased exhibition of foreign pictures
in this country.

The Department estimates the number of
theatres operating in the United States at
17,000 theatres — 16,991 is the figure used —
but points out that drive-in theatres may

Paramount’s studio publicity department.
Shortly afterward he was appointed adver-
tising and publicity director for Cecil B.
De Mille, with whom he remained for
three-and-a-half years as both press con-
tact and head writer of De Mille’s Lux
Radio Theatre.

He joined the Selznick Organization as
advertising and publicity director on “Gone
With the Wind,” directing the campaign
throughout production and completion and
then joined Howard Dietz as special as-
sistant when MGM acquired the picture for
release. Later he was engaged by Samuel
Goldwyn as advertising and publicity di-
rector and directed the campaigns on all
Goldwyn productions starting with “The
Little Foxes,” for a total of ten-and-a-half
years, interrupted only by an 18-month as-
sociation with Frank Ross as advertising
and publicity director and production as-
sistant on “The Robe.”

As a writer, prior to and after entering
the studios, Hebert has had over 200
articles and short stories published in na-
tional magazines, such as the Saturday
Evening Post, Cosmopolitan, Town and
Country, Redbook and Collier’s and is the
author and editor of motion picture ma-
terial in both the Encyclopaedia Britan-
nica and Britannica, Jr.

Establishing his own public relations
firm in 1949, he represented major stars,
producers and productions for seven-and-
a-half years and was public relations coun-
sel for Disneyland.

He has most recently been executive vice-
president of Larry Harmon Pictures Corp.,
producers of animated cartoon series for
television.

Hebert is a member of the Public Rela-
tions Society of America, the American In-
stitute of Management, the Publicists Ass’n
and a winner of one of Wisdom Magazine’s
first awards “for significant contributions
to knowledge.”

now number over 5,000 rather than the
4,700 total the Department used for its
calculation. The outdoor theatres con-
tribute about 25 per cent of the gross in
the domestic market.

Technicolor's Brooklyn
Studios Go to Gertner

HOLLYWOOD — Technicolor has sold its
Brooklyn, N.Y., studios to Benjamin Gert-
ner, president of Biograph Studios.

Gertner will reopen the studios following
extensive renovation and operate under the
name of Mayflower Studios.

BOXOFFICE :: January 1, 1962

Sjj^ggj

HAWKS

ARAMOUNT

l GERARD BLAIN .« RED BUTTONS • TECHNICOLOR*

Directed and Produced by Howard Hawks • Screenplay by Leigh Brackett
From a story by Harry Kurnitz • A PARAMOUNT RELEASE

Chicago Passes Stiff
U nder-17 Censorship

CHICAGO — The Chicago city council
Wednesday (27) approved an amendment
to the censorship ordinance which gives
the police censorship board power to ban
certain motion pictures for young people
under 17 years of age and other pictures on
the grounds of obscenity.

A highly controversial piece of legisla-
tion, the amendment hit the city council
unexpectedly a week ago after traveling
through unorthodox channels to reach,
first, the finance committee and, second,
the city council where it was adopted by a
39 to 3 vote. Usually, an ordinance goes
first to the council, then is assigned to a
committee and, after a hearing, is returned
to the council for action.

One alderman, Leon M. Despres, char-
acterized the maneuver as “railroading,”
and the Motion Picture Ass’n of America
in a memorandum to the council called the
amendment “unconstitutional, unworkable
and unnecessary,” and as “vague and in-
definite” as similar Chicago classifications
which were declared unconstitutional in
1959.

Nevertheless, the council overwhelmingly
okayed the amendments in a 90-minute
session, over which Mayor Daley presided.

As approved, the amendment permits the
police censor board to ban certain pictures
for showing to children under 17 years,
but sets up an appeals board of five mem-
bers from which a distributor can seek a
judicial review.

Opponents of the measure gained several
minor concessions. A controversial phrase
— “or is otherwise unsuitable for children”
— was eliminated. It followed a specific
listing of types of pictures that youngsters
under 17 should not be permitted to see —
those showing lynchings, brutal beatings,
death by fire, or movies arousing sexual
desire. Coverage of newsreels also was
eliminated.

The MPAA warned the council that the
amendment sets a “dangerous precedent”
— that when one medium of expression
falls victim to censorship, all others become
vulnerable. The association pointed out
that not one state or city in the country is
now actively classifying motion pictures,
and that the amendment is unworkable be-
cause “many 14 and 15-year-old children
are more mature than many 17 and 18-
year-olds.”

There appears to be little question that
the amendment will be tested in the
courts.

Henry Kelley to New Post
With 20th-Fox Int'l

NEW YORK — Henry Kelley has been ap-
pointed administrative assistant to Herbert
Jaffey, newly appointed director of pub-
licity, advertising and exploitation of 20th
Century-Fox International and Inter-
America Corporations.

Kelley has been editor of Spanish press-
books and editor of Spanish publicity since
joining the company ten years ago. He
holds A.B. and M.A. degrees in romance
languages from the University of Chicago.

Portland Censorship
Held Unconstitutional

Portland — The Portland city council,
pressing for a decision on the consti-
tutionality of its motion picture cen-
sorship law, got an answer from the
Oregon Supreme Court this week. The
decision: The law indeed is unconsti-
tutional.

The action rose out of the arrest of
Nancy Welch, manager of the Guild
Theatre, for exhibiting the French im-
port, “The Lovers.” The court voided
the conviction of the manager, but did
not rule on the constitutionality of the
ordinance, declaring that the police ac-
tion did not state a crime.

The city then petitioned for a re-
hearing and asked for a ruling on the
constitutionality of its ordinance. The
court then modified its original find-
ings and held that the legislation was
in conflict with the state’s constitution,
that it was “repugnant” to the First
and Fourteenth Amendments of the U.
S. Constitution and contained no con-
stitutional safeguards for enforcement.

Marshall Fine Acquires
Shor Interests in S&S

CLEVELAND — Marshall H. Fine, presi-
dent of Allied States Ass’n, has purchased
the Shor interests in the S&S theatre chain
in the Cincinnati area, comprising 13 the-
atres. Acquisition of this group increases
the Associated Theatres circuit to 35 the-
atres. M. S. Fine and Leroy Kendis are
partners with Marshall Fine in Associated
Theatres, which has theatres throughout
the Greater Cleveland and northern Ohio
area, plus a drive-in in Adrian, Mich.

“I am most enthusiastic about the out-
look for the movie industry for both 1962
and the future,” Marshall Fine said, “and
look forward both to operating these the-
atres, and to further expansion wherever
possible. I believe theatre grosses will con-
tinue in their upward trend and antici-
pate 1962 especially to be a great year for
the industry.”

It was announced that recently acquired
additions to the Fine circuit are : Dixie
Auto Cruise-In, Esquire Art, Forest Auto,
Hyde Park Art, Keith Theatre, Twin Drive-
In, Woodlawn Drive-In, West Hills, all in
the Greater Cincinnati area; the Ramona
and Valley drive-ins in Hamilton, Ohio;
and the Colonial and Paramount theatres
in Middletown, Ohio.

$420,000 Bid for Play

HOLLYWOOD — Martin Melcher, one of
the top investors in “The Egg,” slated to
open on Broadway next week, has offered
the show’s producers $420,000 for the mo-
tion picture rights to the comedy as a pro-
perty for Arwin Productions.

19-Feature Minimum
Set for AIP in 1962

NEW YORK — American-International
Pictures will have a minimum of 19 fea-
tures in 1962, of which seven are completed.
While 19 pictures have been announced,
the company reports that there will be
more on the program for the year.

The seven pictures in, or ready for re-
lease are “Guns of the Black Witch,” “Lost
Battalion,” “Journey to the Seventh
Planet,” “Prisoner in the Iron Mask,”
“Star Creatures” and “Flight of the Lost
Balloon.”

Completed and in editing stages are
"Premature Burial,” “Burn, Witch, Burn,”
“Warriors Five” and “The Mutineers.”

In production is “Tales of Terror,” based
on three Edgar Allan Poe stories, with Vin-
cent Price, Basil Rathbone, Peter Lorre and
Debra Paget.

Seven pictures are in preparation: “Sur-
vival,” starring Ray Milland; “When the
Sleeper Wakes,” an H. G. Wells story with
Vincent Price; “X” (The Man With the
X-Ray Eyes) ; an untitled teenage musical;
“The Seafighters”; “End of the World,”
to be shot in England on a million-dollar
budget, and “The Haunted Village.”

Allied States Announces
Committees for 1962

DETROIT — Ben Marcus, chairman of
the board of Allied States, was renamed
to the key post of COMPO triumvir for
1962 by Allied President Marshall H. Fine,
leading off the slate standing committee
assignments. Milton London, Allied exec-
utive director, was named alternate.

Also named to the COMPO executive
committee are Jack Clark, Sidney J. Cohen,
Sig Goldberg, William Infald, C. Elmer
Nolte, and George Stern.

Other committee appointments made by
Fine are:

Industry relations — Wilbur Snaper,
chairman; Irving Dollinger, alternate; Al-
bert Aaron, Jack Armstrong, Benjamin
Berger, Jack Clark, Sidney J. Cohen, Mar-
shall Fine, Ben Marcus, Fred Schmuff,
Alden Smith, George Stern.

Finance — Harry Hendel, chairman; Ben
Marcus, alternate; Albert Aaron, Abe Ber-
enson, Benjamin Berger, Marshall Fine,
Edward E. Johnson, Meyer Leventhal, Al-
den Smith, Wilbur Snaper.

Toll TV — Wilbur Snaper, chairman;
Jack Armstrong, alternate; Adolph Gold-
berg, Sig Goldberg, Harry Hendel, J. L.
Whittle.

1962 convention — Marshall Fine, chair-
man; Milton London, alternate; Jack Arm-
strong, Abe Berenson, Irving Dollinger,
Harry Hendel, Ben Marcus, J. L. Whittle.

These are the working committees of
Allied leaders who will implement and carry
out the decision of the board of directors
and the policies charted at the national
convention.

Significantly, looking forward to the an-
ticipated important growth of National
Allied by the activation of other state and
regional units, Fine announced that addi-
tions will be made to these committees dur-
ing the course of the year, giving them also
broader representation.

BOXOFFICE :: January 1, 1962

WARNS: DON'T SELL ART PICTURES AS SEX FILMS

Times Film Chief Sees
Art Theatres Maturing

More Than 51,000,000
Have Seen Ben-Hur'

NEW YORK — Now in its third year,
MGM’s “Ben-Hur” had been seen by more
than 51,000,000 people in its first 5,400 en-
gagements through December 1961. “Ben-
Hur” had its world premiere at Loew’s
State Theatre, New York, in November
1959 and, in 1960, won 11 Academy Awards.

Of these 30,000,000 people saw the Wil-
liam Wyler production in its 3,500 domestic
engagements to date and 21,000,000 in its
1,900 dates overseas. It is now estimated
that the worldwide audience for “Ben-Hur”
will exceed 90,000,000.

In 17 of these engagements, “Ben-Hur”
had a continuous run of more than a year,
prior to its subsequent release in a limited
number of neighborhood theatre engage-
ments. These include first runs in New
York, Los Angeles, Boston, Philadelphia,
Chicago, San Francisco, Detroit, Portland,
Ore., Denver, Seattle, Toronto, Montreal,
Vancouver, B.C., and, overseas, London,
Tokyo, Sydney and Melbourne. In London,
“Ben-Hur” is in its 105th week and has
grossed over $2,000,000 at the boxoffice.

This figure was exceeded only by Loew’s
State in New York, which grossed $3,000,-
000 during its 75-week run, and the Egyp-
tian Theatre, Los Angeles, which ended
its 98-week run with a boxoffice figure of
more than $2,200,000. Cities which topped
the $1,000,000 mark include Detroit, Phila-
delphia, Chicago, San Francisco and Tokyo,
with Sydney also approaching the $1,000,-
000 goal.

Theatres also benefited from the sale of
the “Ben-Hur” souvenir books, with Tokyo
leading with 225,000 copies purchased, fol-
lowed by New York, with 126,095 copies
sold, and Los Angeles, with 119,474 copies.
The total souvenir books sold throughout
the world is 2,750,000, including 300,000
purchased as part of the MGM Records
album.

The novel itself gained new popularity
since the picture’s release. First published
in 1880, “Ben-Hur” now has had 150 edi-
tions published in England alone.

MGM now has “King of Kings” playing
reserved seat engagements in major key
cities and the MGM-Cinerama productions,
“How the West Was Won” and “The
Wonderful World of the Brothers Grimm,”
plus “Mutiny on the Bounty,” set for hard-
ticket release in the next 12 to 18 months.

Fryer Named Controller
Of Paramount Pictures

NEW YORK— Joseph P. Fryer, admini-
strative assistant to the controller of Para-
mount Pictures, has been appointed to the
post of controller by the board of direc-
tors. He l-eplaces Frederick E. Koehner,
who resigned to join the Cinerama Corp.

Fryer joined Paramount in 1952 as an
executive in the accounting depai-tment.

Schreiber Acquires Play

NEW YORK — Edward Schi-eiber, who re-
cently filmed “Katie’s Lot,” a 19-minute
novella in Eastman Color, starring Jenny
Hecht, has acquired the motion picture
rights to Ben Hecht’s stage play, “Winkel-
berg,” based on the life of novelist Maxwell
Bodenheim. Schreiber plans to film the
| picture in New York some time in 1962.

NEW YORK — “Not every picture that
comes from abroad is an art house picture,”
Jean Goldwurm,
president of Times
Film Corp., distribu-
tor of foreign films,
commented in his
talk on the growth
of art theatres dur-
ing the past ten years
at a luncheon at the
Russian Tea Room,
adjacent to the Little
Carnegie Theatre,
which he owns and
operates. The Little
Carnegie, one of the
first of Manhattan’s many first-run art
houses, is 33 years old but was rebuilt from
the ground up and I’eopened by Goldwurm
Dec. 25, 1951.

“Today there is no longer a stigma at-
tached to a picture that has played in an
art theatre,” according to Goldwurm, who
said that “if anything there is a certain
prestige attached to such engagements. To-
day the art theatre operator has become
conspicuous. He no longer is left to
scrounge for himself in a corner, ignored
and ostracized as he once was. Nowadays,
he is important and everyone is watching
him,” he said. Although not mentioned by
Goldwurm, “Never on Sunday,” released by
Lopert Films, recently played 60 weeks at
the east side Plaza Theatre and recently
opened at the Forum in Times Square for
an additional six weeks — a variance from
the usual procedui'e.

‘GIGI’ CITED AS EXAMPLE

Goldwurm pointed out that often a pic-
ture has earned more for its producer or
distributor in an art theatre than it would
have at a large Bx-oadway house, mention-
ing MGM’s “Gigi” as an outstanding ex-
ample of a successful art house picture.

Mentioning that there has been a steady
increase in art houses so that there are now
between 400 and 500 such houses in the
U. S., Goldwui-m also said that thei-e was
a 45 per cent increase in attendance at
his Little Cax-negie Theati-e in the ten years
since he took it over. The average length
of run there has increased from three
months to six months for a successful pic-
ture. The number of films played in the
five years was 48, in the second five years
it was 30 but, in 1961 “Times of Glory,”
distributed by Lopert, played 21 weeks;
“Pux-ple Noon,” distributed by Times, re-
cently completed a 15- week run, and “Vio-
lent Summer,” “Fi-antic” and “Leda” were
the other bookings during the year, a total
of only five pictui-es played during 1961.

The average number of persons attending
the Little Carnegie also increased consider-
ably during the past decade, Goldwurm
said. Whereas, $8,000-$15,000 was an ex-
cellent gross for a first week, today $20,000
is not uncommon for a hit, with “Tunes of
Glory” hitting over $28,000 during one
week, “probably a record for any week in

any similar art theatre.” The average at-
tendance for subsequent weeks has in-
creased cori-espondingly over the past dec-
ade, accoi-ding to Goldwurm.

Despite these glowing figures, Goldwurm
wai-ned that art theatre operators face a
critical time, which he said was the result
of too much prosperity. A major reason for
concern was the growing tendency to sell
art pictures as sex pictures and to place
more emphasis on sex than art, which he
considered detrimental to the cause of art
houses. “Ai-ound the country today, some
excellent art pictux-es are sold in a way
that makes them unrecognizable,” and
Goldwurm, who blames both the distributor
who feeds this blatant advertising to the
out-of-town exhibitor, and the exhibitor
who is said to demand it.

EXPLOITATION TRADE

“There is a mai’ket for sex pictures,”
Goldwux-m admitted, but he added that
“they belong in theatres that cater to the
exploitation trade.” He mentioned that his
World Theatre, one of the first of Man-
hattan’s art houses, played such fine Ital-
ian films as “Bitter Rice” and “Open City”
in the 1940s but, since 1957 has become an
exploitation house and is currently playing
“Wild for Kicks,” a British film distributed
by Victoria Films, a subsidiai-y of Times
Film.

The increasing patronage of the art film
has resulted in Amex-ican producers making
coproductions with an international flavor
and the hiring of foreign talent in acting
and directing, Goldwui-m said.

Goldwurm bought the American rights
to the French “Purple Noon” against the
advice of others, but it has become one of
his most successful pictures and has now
been dubbed into English for more general
U. S. showings, he said.

For 1962 release, Goldwurm, who re-
cently returned from a trip to European
film centers, has bought the Hakim Bros.’
just completed “Eclipse,” directed by
Michel Antonioni with Alain Delon (star
of “Purple Noon”) and Monica Vitti
starred. There are other possibilities for
1962, but Times “will have no set number
of releases,” he said.

NEW RELEASE METHOD

Irving Sochin, sales director for Times
Film for the past year, mentioned that
the “Eclipse” deal marks the first time
Goldwurm had invested in a film before its
completion. He also said the “Eclipse”
might be released in “a method different
from that ever used in the handling of a
foreign picture in the U. S.”

Felix Bilgrey, vice-president and attorney
for Times Film, paid tribute to Goldwui-m
for his courage in risking his own money
in acquiring foreign imports and he pre-
sented to him and Mrs. Goldwurm a gift
of a silver and wooden salad bowl as a
token of appreciation from all of his as-
sociates.

Jean Goldwurm

I .O'-C OFFICE :: January 1, 1962

* * UNIVERSAL* *
PICTURES COMPANY

DURING ITS

goldens :::

ANNIVERSARY

CELEBRATION

★ ★ ★ HONORS ★ ★ ★

MILTON R.
RACKMIL

k ★ ★ WITH A k k k

PRESIDENTIAL
SALES DRIVE

JAN. 1 - JUNE 30

★ ★ ★ ★ AND ★ ★ ★ ★

UNIVERSAL

PROUDLY

LAUNCHES ITS

GOLDEN

JUBILEE

~\7 TTi A "D ★ ★ ★ ★
I JjAlt WITH

AN ARRAY OF

OUTSTANDING

ATTRACTIONS

kkkkkkkkkk

KIRK DOUGLAS
LAURENCE OLIVIER
JEAN SIMMONS
CHARLES LAUGHTON
PETER USTINOV
JOHN GAVIN

and TONY CURTIS as Antoninus

Screenplay by Dalton Trumbo
Directed by Stanley Kubrick
Produced by Edward Lewis
A Bryna Production in
Technicolor®

A ROSS HUNTER
PRODUCTION IN ASSOCIATION

GREGORY PECK
ROBERT MITCHUM
POLLY BERGEN

CAPE FEAR”

co-starring

LORI MARTIN and
BARRIE CHASE

Screenplay by James R. Webb
Directed by J. Lee Thompson
Produced by Sy Bartlett
A Melville-Talbot Production

"THE DAY THE
EARTH

CAUGHT FIRE”

it 4-

y
• * *.
' yt •

* .

\ ■ ■
*•

CARY GRANT
DORIS DAY in

. *

in Color • co-starring

GIG YOUNG

Written by Stanley Shapiro and
Nate Monaster
Directed by Delbert Mann
Produced by Stanley Shapiro and
Martin Melcher

Executive Producer Robert Arthur
A Granley Company—

Arwin Productions, Inc.—

Nob Hill Productions, Inc. Production

- *

ROCK HUDSON
BURL IVES m

in Color

co-starring

GENA ROWLANDS

Screenplay by John Lee Mahin and
Neil Paterson

Directed by Robert Mulligan
Produced by Robert Arthur

in Color • starring

HERBERT LOM

and

HEATHER SEARS

Directed by Terence Fisher
Produced by Anthony Hinds
A Hammer Films Production

MONTGOMERY CLIFT
SUSANNAH YORK
LARRY PARKS
SUSAN KOHNER m

They Didn't Know a Thing
About the Movie Business,
So They Bought a Theatre

Today, 14 Years Later, Two Young
Tennessee Women Are Successful
Owners of Circuit of Seven

Mrs. Juanita Foree
(I) and Mrs. Jua-
nita Belleville meet
to check bookings
for their seven-the-
atre chain operation.

ALCOA, TENN.— Back in 1947, Juanita
Pemberton and Juanita Milligan were a
couple of gals who worked at Oak Ridge
and knew absolutely nothing about busi-
ness . . . especially the theatre business.
They did their daily chores and probably
gave little thought about their future. But
an automobile trip to Cincinnati to see a
baseball game changed all that, because
en route they saw their first drive-in
theatre. It sparked an idea in their fertile
young minds.

Today, the two women operate seven
theatres — six in Tennessee and one in
Georgia, and the two feminine exhibitors
are said to be just about the smartest op-
erators in the South. The story goes that
before they got into this business, they
thought a booker was a librarian and that
an arc lamp was a source of illumination
used by Noah.

The sight of that drive-in kept recurring
in their minds and they decided that their
community could use one. But what to
use for money? They interested Mel Foree,
who worked for a publishing house, in the
proposition but, like the girls, he was no
source for ready capital. Foree, however,
did join the team, and a few years later,
married Miss Pemberton.

Refusing to be stumped by a mere matter
of financing, the two Juanitas started to
look around for a piece of property on
which to build their dream house. While
Foree was out of town, they latched on
to three and a half acres in nearby Lake-
mont and bought it. In order to pay for it,
Miss Pemberton sold her car, Miss Milligan
milked her savings and Foree, back in
town, was persuaded to mortgage his car.
At least the ground belonged to them.

All this, however, left them high and
dry financially. There was no money to
hire a contractor. So, they decided on a
do-it-yourself concrete block project and
somehow managed to scrape up enough
money to buy cement for a block-making
machine which Foree could operate. On
weekends, he turned out the blocks until
there were enough to build a screen tower,
concessions stand and boxoffice. Again,
they pooled their money for a down pay-
ment for the projection equipment. But
the actual theatre was a long way from
its opening attraction. They simply couldn’t
finance the construction job.

This was finally solved within the family.
Miss Milligan’s father — as inexperienced as
a contractor as the girls were in exhibition
— agreed to become a builder and to carry
the young women and Foree until they

could pay for the construction and labor
costs out of the boxoffice receipts. An open-
ing date was set for June 17, 1948, and
everything was going along on schedule
until a storm puffed its way into town,
early in April and blew the screen tower
down. A wooden tower quickly went up
in its place — and in time for the opening.
The homefolks liked outdoor movies from
the start, and it wasn’t long before the
girls found out that the 250-car capacity
was way too small. So, they went into hock
still further, acquired an additional two
acres and increased the capacity to 430
cars. All the time they were carrying on
their jobs at Oak Ridge.

To all these setbacks and heartaches
came a happy ending. Despite their in-
ability to get first-run product at the start,
the girls’ theatre prospered and they kept

Detroit Theatre Exhibits
Only Preview Trailers

Detroit — A downtown theatre de-
voted exclusively to preview trailers of
coming attractions greeted holiday
crowds for Wednesday and Thursday
before Christmas. The Madison, pres-
tige house of United Detroit Theatres,
recently remodeled to play roadshows
and long-run attractions, opened its
doors without charge, offering trailers
chiefly of films playing during the
holiday season at both downtown first
run and neighborhood houses of the
circuit.

The project was planned as a means
of relaxation for downtown shoppers
as well as workers, and was cospon-
sored by the Central Business District
Ass’n, including major local merchants.
Shows were run from 11 a.m. to 9 p.m.,
covering shopping hours.

The innovation of all-trailer shows
follows the successful pattern followed
by industry-wide cooperation in special
screenings at the Michigan State Fair
the past two years.

reinvesting their earnings. They expanded
their concessions area, black-topped the
ramps and built up a new front, with
separate entrance and exit drives which
they did not have before.

Although Foree is not active in the busi-
ness, he is still a partner and the trio
now owns a half interest in the Newport
Amusement Co. which operates theatres
in Newport, Gatlinburg and Sevierville,
Tenn., and McCaysville, Ga. The two
Juanitas do all the booking and buying for
the seven theatres and operate the con-
cessions. In 1953, Miss Milligan married
George Belleville jr„ an architect, who
likes movies but prefers to stay at his
drawing board. Foree, too, lets his two
partners do the operating and continues
his profession as a publisher’s represen-
tative.

And it all started because two girls liked
baseball, and decided to take in a game
in Cincinnati — plus a lot of elbow grease,
patience and a desire to learn.

Rights to 'Andersonville'
Sold to Kaufman-Lubin

HOLLYWOOD — Motion picture rights to
“Andersonville,” Broadway play by Saul
Levitt, have been purchased by Kaufman-
Lubin Productions. Millard Kaufman will
write the screenplay and direct, with
Ronald Lubin as producer. The team re-
cently completed its first feature, “Re-
prieve,” for Allied Artists.

The play is based on the famous trial of
Captain Henry Wirtz, called the “Butcher
of Andersonville.” Production is slated to
start in April, with no release set as yet.

Sam Marx to Lens Film in France

HOLLYWOOD — Sam Marx has com-
pleted his work as associate producer on
“Damon and Pythias” in Rome and has
started preparation on “The Most Talented
Man in France,” which he will film in
France.” On the comedy with music, Mane
will be associated with noted composer
Frank Loesser, who is writing the score.
The film will star young French singer
Sacha Distel.

BOXOFFICE :: January 1, 1962

^oUqtmod ^efront

Studios Schedule Ten Feature Films
For Production Start in January

As filmland headed into the Christmas
and New Year holidays, there was a notable
production hiatus at the various studios
where the majority of photoplays slated
for January starts were held over until
next month. Only ten features were given
the green light for this first month in 1982,
albeit the figure totaled two more than
were tentatively scheduled for December.

Of the ten expected to go before the
cameras, four were to be the products of
United Artists and two from Metro-
Goldwyn-Mayer, with one each posted by
Paramount, 20th Century-Fox, Warner
Bros, and an independent company.

By studios, following were the films blue-
printed to start shooting in January:

INDEPENDENT

“A Child’s Game.” A little ghost boy
comes back from hell to look for a play-
mate in this Parallel Film release, to be
lensed in Horrorscope and color by Ivanhoe
International Productions. No stars set.
Producer, Richard Bernstein. Director,
Gabriel de Caesar.

PARAMOUNT

‘‘Who’s Got the Action?” The wife of a
man who loses all his money playing the
horses decides to reform him, only to be-
come involved herself as a bookie for a
racing syndicate. Stars Dean Martin, Lana
Turner, Eddie Albert, Nita Talbot. Pro-
ducer, Jack Rose. Director, Daniel Mann.
An Amro Production.

METRO-GOLDWYN-MAYER

“Billy Rose’s Jumbo.” A spectacular,
high-budgeted filmization of the lavish
Broadway musical, written for the screen
by Irving Ravetch and Harriet Frank jr.
Stars Doris Day, Stephen Boyd, Jimmy
Durante, Martha Raye. Producer, Joseph
Pasternak. Director, Chuck Walters.

“How the West Was Won.” This is the
fifth episode in the MGM-Cinerama saga
which treats with the winning of the west
and beginnings of the railroad industry.
Stars George Peppard. Producer, Bernard
Smith. Director, Henry Hathaway.

20TH CENTURY-FOX

"Five Weeks in a Balloon.” No stars have
been set for this film, which will be pro-
duced and directed by Irwin Allen.

UNITED ARTISTS

“A Child Is Waiting.” A Stanley Kramer
Production, this drama will star Judy Gar-
land and Burt Lancaster. Producer, Stanley
Kramer. Director, John Cassavetes.

“Dr. No.” A mystery, based on a yarn by
famed British whodunit scrivener, Ian
Fleming. It will be lensed in its entirety in
London by Eon Productions. Stars Sean
Connery- Producers, Albert E. Broccoli and
Harry Saltzman. Director, not set.

“The Manchurian Candidate.” Two

American soldiers are brainwashed by
Chinese Communists and then are sent
back to murder a high official in the
United States government. Stars Frank
Sinatra, Laurence Harvey. Producers, John
Frankenheimer and George Axelrod. Di-
rector, John Frankenheimer.

“Two for the Seesaw.” A Mirisch-Seven
Arts presentation based on the Broadway
play about a young girl’s love affair with
an older man. Stars Shirley MacLaine and
Robert Mitchum. Producer, Walter Mirisch.
Director, Robert Wise.

WARNER BROS.

“Gypsy.” Film version of the Broadway
hit musical treating with the life of famed
burlesque queen Gypsy Rose Lee and her
sister, actress June Havoc. Stars Rosalind
Russell and Natalie Wood. Producer-
director, Mervyn Le Roy.

Hal Wallis and Jacques Bar
Announce Story Buys

Following announcement that Anne Ban-
croft will open on Broadway in “First
Wife,” Jay Presson’s new comedy, producer
Hal Wallis revealed that he purchased film
rights to the unproduced play some time
ago . . . Jacques Bar has acquired “At Sea
Off Eden” for lensing under his new
multi-picture pact with MGM. Jean Gabin
will star under the direction of Henri
Verneuil.

Other buys were the purchase by Herbert
B. Swope jr. and Walter Grauman of
“Without Warning,” an original screenplay
by Robert Dillon which the duo will film
next summer as a joint venture with Swope
producing and Grauman directing. The
project will follow lensing of Swope’s “The
Choice,” initial feature film under his own

banner, slated to roll in February

Motion picture rights to Clair Huffaker’s
forthcoming novel, “Good Lord, You’re Up-
side Down,” have been purchased by Max-
well Arnow, executive vice-president of
Artists and Production Associates, Inc.,
marking the first purchase of story ma-
terial by the recently formed APA company
headed by actor Jack Lemmon, Richard
Quine, Blake Edwards and Arnow.

“Sammy Go South,” a British novel by
W. H. Canaway, has been acquired for film-
ing as a coproduction deal of Seven Arts
and Bryanston Productions. Sir Michael
Balcon will produce the picture in England
next year.

The Henry and Phoebe Ephron play,
“Take Her, She’s Mine,” which recently
opened on Broadway, has been purchased
by 20th-Fox.

Glenn Ford’s Newton Productions has
acquired motion picture rights to “The
Time Is Now,” a French novelette by
Charles Jalbert. Ford will star in and pro-
duce the independent feature . . . “The
Ballad of the Running Man,” by Shelly
Smith, has been purchased by Columbia
Pictures with plans to lens the film abroad.

John Guillermin to Direct
Tarzan Goes to India'

British director John Guillermin has
been signed to direct the new Tarzan pic-
ture, tentatively titled “Tarzan Goes to
India,” being filmed by Si Weintraub’s
Banner Productions for MGM.

Weintraub will serve as producer on the
film, 27th in the Tarzan series, which is
slated to go before the cameras in southern
India, near Madras.

Janet Leigh to Play Top
Role in 'Bye Bye Birdie'

Following her role opposite Frank Si-
natra in “Manchurian Candidate,” Janet
Leigh will report to Columbia for one of
the most sought-after parts of the new
year — the femme starring role of Rosie
Grant in “Bye Bye Birdie.”

George Sidney will direct the screen
version of the Broadway play, with Fred
Kohlmar producing for Columbia release.
Mike Stewart, who wrote the original book,
is currently preparing the screenplay.

ATTEND PRESS PARTY — Steve Broidy, at right, Allied Artists president, is
shown with Samuel Bronston, left, and Anthony Mann at a party staged by AA
for the press prior to the local premiere of “El Cid,” which Bronston produced
and Mann directed. The film is being distributed in the western hemisphere by
Allied Artists.

BOXOFFICE :: January 1, 1962

, P'4:

i fik

BOXOFFICE BAROMETER

This chart records the performance of current attractions in the opening week of their first runs in
the 20 key cities checked. Pictures with fewer than five engagements are not listed. As new runs
are reported, ratings are added and averages revised. Computation is in terms of percentage in
relation to normal grosses as determined by the theatre managers. With 100 per cent as "normal,"
the figures show the gross rating above or below that mark. (Asterisk * denotes combination bills.)

WMM

H Big Gamble, The (20th-Fox)

120

105

175

100

125

100

ft Cheaters, The (Cont'l)

150

165

150

|| Cold Wind in August, A (Aidart)

300

110

175

150

175

100

168

|| Deadly Companions (Pathe-America)

150

100

$! Everything's Ducky (Col)

100

125

91 j

s| Four Desperate Men (Cont'l)

100

87 I

,;S

jig Hippodrome (Cont'l)

175

115

100

150

125

108 j

:S I Bombed Pearl Harbor (Parade)

100

115

110

135

125

104

j|i Invasion Quartet (MGM)

135

100

125

100

109

|| King of Kings (MGM)

275

230

200

110

240

450

395

120

195

246

|§ King of the Roaring 20's (AA)

135

155

100

175

150

114 j

m Love and the Frenchwoman (Kingsley)

125

150

175

110

125

185

125

115

190

131 j

,|§ Man-Trap (Para)

100

110

100

150

100

97 |

| Mask, The (WB)

120

125

120

125

100

115

145

150

110 \

|| Mr. Sardonicus (Col)

225

125

100

105

135

120

150

100

110 |

if Mysterious Island (Col)

125

150

240

175

145 |

iff Pirates of Tortuga (20th-Fox)

100

91 \

|| Scream of Fear (Col)

110

150

195

100

115

135

130

106 |

|| Season of Passion (UA)

100

97 |

jj:| Secret of Monte Cristo, The (MGM)

115

100

91 f

§ 7 Women From Hell (20th-Fox)

140

130

135

110

105

125

160

150

100

125

112 |

|| Splendor in the Grass (WB)

175

250

185

200

150

300

180

200

325

265

100

175

225

100

195

130

135

175

100

184 ij

1 Steel Claw, The (WB)

100

94 |

| Stop Me Before I Kill (Col)

100

91 l

jj§ Susan Slade (WB)

140

175

120

100

180

120

200

210

205

200

150

125

135

195

200

175

162 |

j| Teenage Millionaire (UA)

100

120

100

96 $

|| Then There Were Three (Parade)

100

92 f

| Thief of Baghdad (MGM)

125

200

100

150

130

100

275

125

140

125 |

If Thunder of Drums, A (MGM)

100

125

175

100

125

100

120

125

120

150

114 jj

^ Town Without Pity (UA)

130

175

100

175

110

140

125

140

100

175

100

135

124 |

S Trouble in the Sky (U-I)

100

98 |

p Trunk, The (Col)

100

91 |

‘M Truth, The (Kingsley)

175

300

175

300

230

125

135

250

200

175

190

179 1

p Twenty Plus Two (AA)

125

100

120

103 |

P Two Women (Embassy)

150

225

105

165

150

500

150

200

100

200

125

195

105

100

170 |

| Underworld, U.S.A. (Col)

125

120

100

115

100

107 |

|f Upstairs and Downstairs (20th-Fox)

180

100

150

125

118 |

f§ Valley of the Dragons (Col)

100

88 |

i Weekend With Lulu, A (Col)

175

145

100

123 |

f§ World by Night (WB)

100

130

120

100

150

200

125

100

120 |

1 X-15 (UA)

120

105

100

93 |

P Young Doctors, The (UA)

140

275

100

125

130

100

150

125

180

255

100

165

130

125

200

120

145 |

i mmmmmmmmmmmmmmmmsm

TOP HITS

San Francisco

Los Angeles

400

260

THE WEEK

2. One, Two, Three (UA)

Los Angeles

250

Individual runs, not an average.
Listings are confined to opening
week figures on new releases only.

3. Mysterious Island (Col)

Kansas City

240

4. El Cid (AA)

New York..

.190

5. Babes in Toyland (BV)

New York

.185

mmmmmmmmmmmmmm.

6. Innocents, The (20th-Fox)

Los Angeles

Elvis Beals Old Jinx
In Omaha Opening

Levy Party Reviews 40 Industry Years

Words stirring up memories of good times, of loyalty and good humor; words
of praise and affection, in short, the happy recollections of many years of associa-
tion brought many happy moments at the recent anniversary party given by Min-
neapolis area exhibitors for M. A. Levy, 20th-Fox manager there. The occasion
celebrated Levy’s 40th year with the film company. Many telegrams and letters
from company executives and friends also were read at the party. Top photo, left
to right: Joe Podoloff, Vogue and American theatres; Eddie Ruben, Welworth
Theatres; Manager Levy; Charles Winchell, Minnesota Amusement Co.; Bob
Conn, 20th-Fox sales cabinet, New York, and Dave Gold, 20th-Fox manager at
Des Moines. Below, with an ice statue of the honored guest, are: Harry Green,
Welworth executive; Levy, and Ben Berger, Berger Amusement Co.

OMAHA — Weather and seasonal activi-
ties dealt a blow to local boxoffice receipts,
but the Omaha Theatre upset the usual
pattern and went well beyond average fig-
ures. Tristates City Manager Don Shane
said "Blue Hawaii” chalked up a 130 per
cent of average gross and that was well
ahead of the rest of the field.

(Averoge Is 100)

Cooper — Seven Wonders of the World

(Cineroma), 4th wk 100

Dundee — The King ond I (20th-Fox), 4th wk. 90

Omaha — 'Blue Hawaii (Pora) 130

Orpheum — Romanoff ond Juliet (U-l) 65

State — bachelor in Paradise (MGM), 5th wk 75

'White Christmas' Continues
To Please Milwaukeeans

MILWAUKEE — The neighborhood Tower
wound up a five-week run of “White
Christmas” and did the best business, per-
centage-wise for the entire group. “King
of Kings” opened at the Strand to a ca-
pacity house and bids fair to continue for
many weeks.

Downer — The Royal Ballet (Lopert) 150

Paloce — Search for Paradise (Cinerama), 10th wk. 100
Riverside — 7 Women From Hell (20th-Fox);

Man-Trap (Para), 2nd wk 95

Strand — King of Kings (MGM), 1st two days.. 300

Times — A Weekend With Lulu (Col) 150

Tower — White Christmas (Para), reissue, 5th wk. 175

Towne — Blue Hawaii (Para), 4th wk 125

Warner — The Mask (WB); House of Fright (AIP) 65
Wisconsin — Gina (Omat); Never Take Candy

From a Stranger (Omat) 100

Des Moines Paramount
Is Haven in Big Snow

DES MOINES — Dreams of a white
Christmas turned into a nightmare on the
22nd when suddenly everything went white
and Iowa had its most disastrous snow-
storm in a decade. The Paramount The-
atre here stayed open all night, after a
“Twist Around the Clock” midnight show,
to accommodate more than 200 persons
stranded downtown. The Paramount is
next door to the Union Bus depot, and
many weary, marooned Christmas travelers
dozed in theatre seats. Others spread their
coats on the mezzanine floor and slept
there, and a few early birds snoozed on the
sofas.

Many shoppers and office workers gave
up trying to get home early in the evening
and went to the Paramount, Des Moines or
Orpheum theatres to see a show. The
Orpheum personnel stayed on for the night
when they couldn’t get home after the last
show. The Ingersoll staff did likewise.
Several outlying film houses hung out
“Closed” signs early in the day.

The Holiday was the only Des Moines
indoor theatre not back in operation the
day after the big blow and big snow. The
main feature scheduled for the Saturday
show at the Holiday still was snowbound in
a film truck 100 miles away.

The Capitol and Pioneer drive-ins,
equipped with in-car heaters, provided an
artist’s picture of a marshmallow world,
but it would be some time before the lights
went on again. The Capitol manager esti-
mated it might be a week before reopening.

And as the city dug out from under the
huge drifts, Herb McCaw, manager of the
suburban Lyric, went right ahead and pre-
tended like nothing had happened. He ran
“White Christmas”!

Charles Cain Is Managing
At Corvallis Whiteside

CORVALLIS ORE. — Charles Cain, who
comes to exhibition from the banking
field, is the new manager of the White-
side Theatre, succeeding Jchn Buck, who
had been at the theatre’s helm for ten
years. Cain is a former Corvallis resident,
having lived here during World War II
while assigned to Oregon State University
as an Army ROTC instructor.

His more recent position had been with
the First Western Bank of San Francisco,
working for the institution’s branch in Palo
Alto, Calif. Some ten years ago he was a
member of the First National Bank staff
here and was assigned to a branch in Port-
land.

Cain and his family, consisting of his
wife Ruth and three daughters, Karne, 7,
Sarah, 2, and Janet, seven months, reside
at 2150 Evergreen St. in Forest Acres.

'King of Kings' Matinees

LOS ANGELES — The week beginning
with Christmas Day inaugurated the start
of every day matinees at the Egyptian The-
atre for MGM’s “King of Kings.”

Muse Vs. Omaha Suit
Temporarily Delayed

OMAHA — A decision on a temporary in-
junction against the city of Omaha,
brought by Mrs. Ruth Gelfand, owner of
the Muse Theatre, was delayed last week.
Mrs. Gelfand has sued the city, alleging
that members of the police vice detail
seized two motion pictures “without lawful
authority.” She alleged that the seizure
of the films and the threat of prosecution
against her are violations of her constitu-
tional rights.

Her suit referred to a December 7 inci-
dent in which police confiscated “Some
Like It Cool” and “Fire Under Her Skin.”
Mrs. Gelfand contended the films are
“neither indecent nor immoral.” She asked
the court for an injunction stopping the
city from prosecuting her and interfering
with the operation of the theatre.

District Judge Donald Brodkey signed a
restraining order against the city and
scheduled the hearing. Judge Edward A.
Mullery, who heard the testimony, said he
delayedLthe decision because he wanted “a
little more time to study the problem.”

BOXOFFICE January 1, 1962

NC-1

LINCOLN

^heatres were ready for Nebraska capital
city residents who wanted to welcome
in the New Year at the movies. On the
midnight menu were “One, Two, Three” at
the Varsity; “Sail a Crooked Ship” at the
State, and “Lover Come Back” at the
Stuart. The Cooper Foundation’s Nebraska
featured three 11:15 p.m. shows over the
holidays — on the 29th, 30th and 31st.

Christmas Week movie fare was special,
too, with “Flower Drum Song” taking over
December 30 from Jerry Lewis’ “The
Errand Boy" at the Stuart. Jerry drew big
crowds for a 15-day run. The Varsity
opened December 22 with Bette Davis in
"Pocketful of Miracles” and “Babes in Toy-
land” was the Christmas-time drawing
card at the State.

On hand to wish “Happy New Year” to
Varsity patrons was Walt Jancke, city
manager for the two Nebraska Corp. the-
atres. It’s a habit Walt has been practicing
37 years . . . Walt was among several di-
rectors reappointed to serve on the Lincoln
Chamber of Commerce board. He again
will be publicity and promotions committee
chairman. Television executive A. James
Ebel is the new chamber president.

doorman after a plane trip to California to
attend the funeral of his son . . . Ike Hoig,
movieman turned city auditorium manager,
is back on the job after breaking his leg.
But he is working from a wheel chair and
will be for several weeks.

About 1,500 Golden Age Club members
gathered at the Stuart Theatre December
16 when Cooper Foundation gave them a
Christmas party. It started with a juice,
coffee and cookie breakfast, followed by
Bing Crosby in “High Time.” Stuart Man-
ager Bill Watson and his staff said good-
bye to each member, man or woman, by
presenting a gift rose.

Several mornings before this party was
held, the young folks of Lincoln filled the
Stuart. It was another citywide junior high
audience at a Lincoln Symphony concert.
That evening the symphony played another
of its programs in the concert series for
adults.

A third morning holiday date at the
Stuart was the Sertoma Club’s Christmas
movie for all Lincoln children. The 16-
cartoon show was featured at 8 a.m. and
again at 10 that morning — December 21.

Lincoln’s Christmas snow, showing up
about two weeks early, gave Cooper Foun-
dation executive George Gaughan a great
opportunity to try out his new powered
snow-pusher. Friends report he also dis-
covered how an operator can be snow-
showered if the nozzle is not kept pointed
in the right direction.

Earl Closson is back on his job as Varsity

WAHOO is the
ideal boxoffice attraction
to increase business on your
'off-nights''. Write today for com-
plete details. Be sure to give seat-
ing or car capacity.

HOLLYWOOD AMUSEMENT CO.

3750 Oakton St.

Skoki?, Illinois

OJW_AH_A

bandit with a parka pulled tightly about
his face robbed the Muse Theatre
downtown early in the evening and escaped
with approximately $200. Rose Schwidel-
son told police she had just reported for
duty in the boxoffice when the man ap-
peared. “He pointed a gun at me, handed
me a paper sack and told me to put all the
money in it,” she said. A clerk at the con-
cession stand, Percy E. Wylders, said he
walked into the lobby at the time of the
robbery. “The guy said to sit on the floor
so I did,” he declared.

John Dugan, head of the Omaha office
of United Artists, said that its quarters
probably would be moved from the present
address of 307 North 16th St. before Febru-
ary 1, most likely to an office building.
United Artists has been at its present loca-
tion six years . . . Arthur Doht announced
he was shutting down his theatre at Har-
vard the first of the year . . . The co-op
theatre at Orchard also has shuttered.

Phil and Jack March have taken over
the booking and buying for the March cir-
cuit, which includes theatres at Wayne and
Vermillion, S.D., and LeMars and Spirit
Lake, Iowa . . . Charles Vickers of the
Maple Theatre at Mapleton is sporting a
new Chevy station wagon . . . United Artists
held its Christmas party at the office with
turkey and all the trimmings.

Eddie Osipowicz, exhibitor at Correction-

ville, Iowa, drove to Iowa City, where he
picked up his son, a student at the Univer-
sity of Iowa, then drove on to Cleveland to
spend the holidays with his daughter . . .
Vivian Schertz, secretary to Pat Halloran
at Buena Vista, took the second week of
her vacation during the holidays . . . Bob
Hirz, city manager for Warner Bros., was
down with an attack of the flu last week
. . . Ken Claypool, WB booker, went to
Osceola with his family to be with his and
his wife’s folks for Christmas.

Don Shane, city manager for the Tri-
States circuit and the new chief barker of
Variety Tent 16, has scheduled a crew
meeting immediately after the first of the
year to further the 1962 program . . . Mrs.
Mildred Klein, mother of James Sparks,
former salesman with United Artists and
other Omaha exchanges, died recently.

Exhibitors on the Row included Nebras-
kans Phil and George March, Wayne;
Nowell Roberts, Wahoo; Phil Lannon, West
Point; Sid Metcalf, Nebraska City, and
Bill Zedicher, Osceola; Iowans Frank Good,
Red Oak; Arnold Johnson, Onawa; Byron
Hopkins, Glen wood and Villisca; Earl
Nansel, Council Bluffs, and S. J. Backer,
Harlan.

Big Theatre Favoritism
Runs Into Opposition

NEW YORK — Independent Theatre
Owners Ass’n is out to halt the practice of
extended playing time granted to larger
theatres by the distributors and will take
“whatever steps may be deemed necessary
to protect its membership against the
growth of these destructive practices.”

In a resolution adopted at a membership
meeting, the ITOA charged that the dis-
tributors, by means of special releasing
patterns, were resorting to the establish-
ment of “extra runs,” depriving subsequent
runs of their normal availabilities under
customary trade procedures. The associa-
tion stated that these practices were “sub-
ject to serious legal question” and created
new clearances and new runs and served to
x-estrain trade by withholding much-needed
product from theatre owners enjoying less
preferential playing position.

Commenting on the action, Harry
Brandt, ITOA president, said the industry
was witnessing prostitution of the extra
run to an extreme where the competitive
position of the subsequent-run operator
was completely disregarded and seriously
impaired.

“The nearsightedness of some of the
major circuits in depriving themselves of
a run to which they are entitled and in
creating clearances that do not exist
makes them suspect of collusion in the
matter,” Brandt said. “These practices, in
our considered opinion, subject offenders
to serious consequences. We have been
most reluctant to act in this situation, but
our members do not intend to serve as
pallbearers at their own business funeral.”

Large Core
Greater Crater Area

BOONTON, N. J.

MAXIMUM LIGHT

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NC-2

BOXOFFICE "..January I, 1962

DES MOINES

J^Jany along the Row and in the the-
atres were on vacation during the pre-
Christmas week. Among those who stayed
at home and found their recreation at the
handle of a snow shovel were Charles Cali-
giuri, Paramount manager; Gene Jacobs,
United Artists manager; Louise Curtice,
also of UA, and Howard Dunn, Margaret
Rowson and Virginia Jacobs, MGM . . . Joe
Young, Warner manager, vacationed in
warmer climes, namely, Memphis . . . Peter
Frederick, manager of the Capri, spent a
week at his home in Garner.

Gov. Norman Erbe has been advised that
the Hollywood set used in “The Music
Man” is not available to the state of Iowa.
Erbe had suggested that the “River City”
set be relocated on the Iowa state fair-
grounds. A Warner B -os. official wrote the
governor that the studio was sorry, but
many of the film sets are to be used in
future movies. The Meredith Willson
musical has an Iowa background and the
Iowa state fair is in need of a shot-in-the-
arm attendance booster.

Paramount offices looked like the Pep-
permint Lounge when staff members got
dressed up in their red and white “Hey,
Let’s Twist!” hats and had a party . . .
Opening of “Pocketful of Miracles” at the
Capri was delayed one night because of the
storm. “Breakfast at Tiffany’s” recently
ended a six-week run at the theatre . . .
School officials at Decorah have announced
that free noon movies will be shown in the
Decorah Community Schools . . . Reports
from Mason City indicate that finally, all’s
quiet on the censorship front.

MILWAUKEE

ghed a tear for Harry Boesel, manager of
the Wisconsin Theatre, who antici-
pated doing a landoffice business on
“Never Take Candy From a Stranger.” But
he ran into the same difficulty A1 Camillo,
Tower manager, had with the Milwaukee
Journal. Boesel took his ads over to the
Journal, and was turned down flat. What’s
more, he was refused space in the Theatre
Guide of the paper. One of the Journal’s
critics reviewed the picture, and Boesel
went over to the paper again, with the re-
view, asking to have the review placed as
an ad. No dice! “So I wind up as an ‘also
ran’ in the weekly survey of theatre
grosses,” he moaned, “and all I get in the
Guide, is ‘Gina.’ ” The Journal maintains
a policy of refusing all “off-key” advertis-
ing, and when a showman brings in any-
thing which in the paper’s estimation
smacks of this type, the exhibitor either

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edits his ad to suit “or else.” In cases such
as Boesel’s, it’s no go, period!

Johnny McKay, Riverside theatre man-
ager, is wondering if the big ad in the
papers run by the three Schuster stores
pushing View-Master will help business.
The set consists of viewer, projector,
screenette, library box and preview pack,
along with three-reel packets. Heading the
list of reels is Babes in Toyland, at the
Riverside; Gulliver’s Travels, One Hundred
and One Dalmatians, The Christmas Story,
The Littlest Angel, Snow White, Bambi,
20,000 Leagues Under the Sea, Wizard of
Oz, and many others, some of which are
also appearing at the neighborhood houses.

Pat Haloran, U-I manager, in screening
“Lover Come Back” for a group of ex-
hibitors at the Warner screening room,
had the folks guessing. After chasing all
over town (he said) and finally locating
the type of a lozenge he had been seeking,
he presented each and every one at the
screening with a mint handsomely gift-
wrapped. In handing them out, he cau-
tioned, “Please do not eat these until after
the program. You may feel differently, and
be sorry.” The stars in the picture ex-
plained the situation and gave an unusual
twist to a screening.

Louis Orlove, who handles publicity and
promotion for 20th-Fox here under Man-
ager Jack Lorentz, dean of Filmrow vet-
erans, has been notified that his collection
presented to the Milwaukee Public Museum
will be on display upon completion of the
new museum. Over the years, Orlove has
been collecting relics representative of the
motion picture industry and decided the
collection was worthy of an honored niche
in the museum. The presentation was
made some time ago.

Preparations are under way for the
annual Variety Club’s “bow to the press.”
While the affair is actually a goodwill ges-
ture for the fine cooperation from news-
papers, trade magazines, radio and tele-
vision, the moment is also appropriate for
getting across the club’s “message,” which
in effect is the kickoff for 1962’s approach
to the $50,000 goal in behalf of the Variety
Club’s epilepsy clinic at Mount Sinai Hos-
pital, towards which $125,000 has thus far
been contributed. Already several business
houses have offered to pick up the tab if
nominated host for the affair.

Chaplin Western Tour
Airs Industry Problems

TORONTO — Charles S. Chaplin, Cana-
dian general manager of United Artists,
has returned from a mission to the western
prairies as chairman of the publicity and
boxoffice committee, Motion Picture In-
dustry Council of Canada.

For a second time Chaplin was guest
speaker at the annual meeting of the
Saskatchewan Motion Picture Exhibitors
Ass’n at Saskatoon and gave extensive cov-
erage of a wide range of subjects, includ-
ing Sunday operation of theatres, censor-
ship problems, amusement taxation and
the impact of television.

During his stay out west, Chaplin dealt
with industry topics in a number of inter-
views as part of his promotional work.

Ronald Lubin is producing Allied Artists’
“Reprieve.”

MINNEAPOLIS

JJarold Anderson bought the Sherburne
Theatre at Sherburne from George
Ehlers. The house has been closed about
four months. Anderson, who was on the
Row last fortnight lining up product, plans
to reopen the theatre about the first of
the year . . . Other outstate exhibitors on
the Row were Bob Collins, Morris, and Bob
Pfau, Mankato. With Pfau were John
Dahl, manager of the Town, Mankato, and
Fred Tolk, manager of the Kato Outdoor
Theatre, Mankato.

Charles Creamer of Minneapolis Theatre
Supply spent Christmas in Fargo, N. D. . . .
J. T. McBride, Paramount manager, vaca-
tioned in St. Louis over the holidays . . .
Joe Loeffler of Lomac Distribution Co. and
his family spent the holidays in Cleveland
. . . Don Smith, general manager of Pio-
neer Theatres, spent Christmas in Peoria,
111., with his daughter.

Mickey Justad, operator of the Hiway
218 Drive-In at Austin, and his wife are
back from a month’s vacation in Florida
looking tanned and healthy . . . Henry
Greene, general manager of Minnesota En-
tertainment Enterprises, vacationed in
Phoenix over the holidays. Greene’s El
Lago Theatre, a neighborhood house, re-
cently was redecorated. The house was
closed during the renovation.

Bunny Linder, wife of Ed Linder, man-
ager of the Gopher Theatre, has headed
back from Miami Beach, where she is as-
sistant treasurer at the municipal audi-
torium during the winter. Mrs. Linder has
been spending the summer and fall in Min-
neapolis . . . Roger Germann, booker at
Paramount, spent Christmas at his home
in Staples . . . Minnie Sethney, booking
stenographer, spent Christmas in Detroit
Lakes.

Allied Artists has set two pictures down-
town. “The George Raft Story” will open
at the State, Minneapolis, and Paramount,
St. Paul, January 19. “El Cid” will follow
“King of Kings” at the Academy sometime
in February . . . Gertrude Guimont, former
head booker at Warner Bros., was honored
at the exchange’s Christmas party upon
her retirement. She was presented a gift
certificate.

Ray Fleischbein, head of service at Na-
tional Screen Service, was honored at a
dinner party at the Normandy Hotel Wed-
nesday, December 27, upon his retirement
and presented a gift by his coworkers.

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BOXOFFICE :: January 1, 1962

NC-3

Not Classification, Nor Censorship
But Attendance Brings Good Films

The following article from the Luth-
eran Companion, published at Rock
Island, 111., under the headline, “Re-
member There’s an ‘I’ in Movies . . .
Our Critic Probes and Finds Quality
Pictures Don’t Get YOUR Support,”
was forwarded to Boxoffice by Louis
W. Orlove, regional 20th-Fox adver-
tising-publicity manager at Milwaukee,
with his high praise. It was written by
Bill Nichol, Milwaukee, correspondent
for Boxoffice, longtime freelance
writer and motion picture critic for the
Lutheran Companion.

By BILL NICHOL

Not too many years ago, the motion pic-
ture theatre in every community repre-
sented a “family playground” and lost
pictures were designed to provide enter-
tainment for the entire family.

However, it will be recalled that motion
picture producers were accused of making
films “for the 12-year-old mind.” In a
sense, the public objected. This outcry
against the type of pictures in those days
alerted producers to the need for providing
more challenging and interesting subject
matter. In other words, adults begged for
more worthwhile dramatic experience in
the theatres.

As a result, the producers became more
courageous and skillful in bringing better
films to the movie houses. In doing so,
however, they have not always achieved
perfection, and despite the Production
Code, a certain number of pictures con-
tinue to appear, which are obviously not to
be recommended for the family.

Actually, the code was created to assure
breadth and diversity, not blind conformity
in the motion picture art. The code was
not intended to say: “You can’t film that!”
What it does and should say is: “You can
film that if you abide by responsible
standards of morality and decency.” The
Production Code tries through specific
standards, to make films reasonably ac-
ceptable to reasonable people. Such is the
responsibility of the motion picture
industry.

By the same token then, there is a cer-
tain responsibility which falls upon the

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audiences. With the greater diversity in
available film fare, today’s audiences must
SELECT films, just as they select books,
art and music. The public itself dictates
to producers what it really wants — not so
much by its complaints about what it
doesn’t like in films, as by its support of
the films, books and magazines it does like.

Make no mistake about it, Hollywood is
interested in what the public says and
thinks about the industry and its pictures.
Recently, the author of a syndicated series
of newspaper articles on movies said :
“Nearly everyone I talked to in my re-
search pointed out the same thing: Holly-
wood will give the public what it wants to
see. If people want shock and frankness,
they’ll get it. If they want good clean films
for themselves and their children, they’ll
have to prove it by attending such films.
And what movies have you seen lately?”

TIME ALTERS ESTIMATES

This might be a good time and place to
bring out a few observations. “Gulliver’s
Travels,” for example, was considered
“wicked and obscene” in 1726. Now, it’s a
classic, and even “required reading” in
many high schools. In first century Rome,
“The Odyssey,” by Homer, was suppressed
because it expressed Greek ideals of free-
dom — dangerous in autocratic Rome.

The writings of Confucius, Dante’s “In-
ferno,” the works of Voltaire, and even the
Bible have been burned in protest from
time to time throughout history. By the
same token, there exists an erroneous as-
sumption that classifying films will pre-
vent the attendance of young people at
movies, which might conceivably be too
mature for their enjoyment or under-
standing.

Also, the thought prevails that film
classification is necessary, presumably, be-
cause citizens do not have access to infor-
mation about current movies. Strangely
enough, a classification of “FOR ADULTS
ONLY,” in many cases serves mainly to
attract young people, rather than discour-
age their attendance. Theatre records
prove this.

OBSERVATIONS BY SOCRATES

For those laboring under the impression
that times have changed, hark to what
Socrates had to say about the younger
generation ! “The children now love luxury,
they have bad maimers, contempt for au-
thority! they show disrespect for their
elders, and love chatter in place of exercise.
Children are now tyrants, not the servants
of their household. They no longer rise
when elders enter the room; they contra-
dict their parents, chatter before company,
gobble up dainties at the table, cross their
legs, and tyrannize over their teachers!”
End of quotes. That was over 2,000 years
ago!

More recently, in response to a letter
about the movies, here is what “Dear
Abby” had to say in her column. “It is not
the function of the PTA to censor movies
and their ads. It is up to the parents of
children in the impressionable age group
to exercise control over which movies their
children see (as well as which books they
read, and with whom they associate) . Not

all movies are vulgar, suggestive and in-
decent. Some are wholesome, educational
and inspirational.”

Makes one stop and ponder. What pos-
sible criteria could be established, which
would meet the requirements of all stand-
ards, tastes and individual limitations?
Suppose we cite the film “Gigi,” as a case
in point, where a number of different vol-
untary classifying groups placed their re-
spective classification on the picture. An
“Adult” rating on the film was given by
the following groups:

The Catholic Legion of Decency
General Federation of Women’s
Clubs

Daughters of the American Revo-
lution

Protestant Motion Picture Council

While on the other hand, the organiza-
tions named below said it was suitable not
just for adults only, but for children over
12 years of age!:

The American Library Association
American Jewish Committee
National Congress of Parents and
Teachers

It goes without saying that these are all
responsible and respectable groups, and yet
each in its own wisdom, came up with a
different rating. It somehow demonstrates
rather clearly, that there are no truly ob-
jective criteria which can be applied by
appointed “classifiers” of films.

Strangely enough, one family can relax
in an atmosphere of laughter, comedy and
humor. Some people love to be surprised,
shocked and puzzled by the thrillers and
mystery stories on the screen, while others
like to cry. to be cleansed of their own
sorrows perhaps, by watching a tragedy on
the screen. And still others enjoy some-
thing “with a beat” with music and
dancing . . . bright lights and pretty
clothes.

All of which brings us down to matters
of the moment. Except for the few instances
when I have “gone out on a limb,” to re-
view a film for the Companion, on which
various organizations were unable to agree
upon a classification, I depend for my final
decision on a few members of the cloth, a
few families rated as solid church people,
and a bit of personal judgment.

The one sure way to get the kinds of
films we all want on the screens is to tell
your local exhibitor what type of film fare
you prefer in the theatre you patronize.
Don’t generalize! Be specific! And then
support these films when they appear.

Remodeled Groom Theatre
Opened by Bob Nicholson

GROOM, TEX. — A completely remodeled
and redecorated Groom Theatre was re-
opened recently by its new owner, Bob
Nicholson, who purchased the building and
equipment from Frank Dover. The the-
atre was almost 100 per cent filled on
opening night, despite the many other local
entertainment possibilities.

Prior to reopening, Nicholson reordered
new reflectors for his projection equip-
ment and took steps to improve his screen
presentation.

Nearly 90 per cent of the shooting sched-
ule of Columbia’s “Requiem for a Heavy-
weight” is being filmed on location.

NC-4

BOXOFFICE rr January 1, 1962

ADLINES & EXPLOITIPS
ALPHABETICAL INDEX
EXHIBITOR HAS HIS SAY
FEATURE RELEASE CHART
FEATURE REVIEW DIGEST
SHORTS RELEASE CHARI
SHORT SUBJECT REVIEWS
REVIEWS OF FEATURES
SHOWMANDISING IDEAS

THE GUIDE TO BETTER BOOKING AND B U S I N E S S - B U I L D / N G

Little Things Pay Solid Dividends
In Building Theatre Patronage

The little things are important in build-
ing a friendship between the public and a
theatre, just as much as they are in per-
sonal relationships. Some of the little
things a showman can do to win the good-
will and interest of his patrons are de-
scribed by C. V. Mitchell, manager at Fos-
toria, Ohio, for the Armstrong circuit,
headquartered at the State there.

Mitchell relates he looks through the
tradepapers and pressbooks and clips the
ads on new releases and puts them in a
display he maintains on both sides of the
boxoffice, over which is this heading, “A
Golden Show Season for 1961-62,” which
is changed to fit the seasons, etc. As the
attractions named in the displays are
played, they are replaced by new ads.

KEEPS MANY INFORMED

“You cannot realize how many passersby
stop and read this display, many of whom
stop me on the street and ask, ‘When will
“Breakfast at Tiffany’s” be here?’ or ‘How
soon is “Greyfriars Bobby” coming to the
State Theatre?’ How does this sell our
forthcoming product? Well, I can say this,
my patrons KNOW that Hollywood’s best is
coming to Fostoria, and they won’t be
going some place else where they are not
sure of what’s coming. And the best thing

Arnold Greathouse, seated, and Jack Dobbs, center,
of United California Theatres confer with Alfred
Tamarin, left, producer's publicist, and Jim Meyers,
Allied Artists manager at San Francisco, on pro-
motion for “El Cid," which opened at the Alex-
andra Theatre in the Bay City just before Christ-
mas. Ticket stimulants include a deal with Sears,
Roebuck & Co. stores to sell them, using charge
accounts if desired.

about this gimmick is that it’s cost free —
no sign man worries, no painting cost, etc.,
because we get all the material from our
tradepaper and the pressbooks.”

On Saturday afternoon matinees, Mitch-
ell speaks to the children just before the
show starts, going over the reasons why
they shouldn’t run up and down the aisles,
why they shouldn’t talk loud when the
show is on, etc. Then he goes down and
mingles with the youngsters, asking them
what type of show they like best. This
gives him an idea of how to bring them to
the theatre on a school holiday and keep
them from flocking to a roller-skating
rink or what-not.

When Fostoria has a parade, Mitchell
says he might just sit and do nothing, but
that gets him nowhere, so he moves out
the popcorn machine and the small candy
stand outside and puts up a one-sheet
board with two 14x36s advertising the
State’s next attractions, and the current
show, of course. A bit of extra revenue
comes in from the popcorn and candy, and
the passersby can’t help but notice what is
playing and what is coming at the State.

IDEA FROM JOE CARLOCK

Here are two more promotions in the
minor category, forwarded by Joe Carlock,
manager of the Pitt Theatre in Lake
Charles.

Several recipes, nine to be exact, with
the word “devil” in then- designation, were
typed up for offset printing on 4x5%
sheets. These were gathered in a booklet,
the cover of which contained copy and a
small mat on “The Devil at 4 O’clock.”
The booklet of “Devil South Sea Recipes”
was distributed before Thanksgiving, when
the film opened.

A small holiday greeting is being dis-
tributed for “Babes in Toyland.” Small
( 2x3 % ) cards with a 1962 calendar on one
side were purchased. On the blank side
Carlock had this printed: “May the Spirit
of the Holiday Season Abide With You
Throughout the New Year! Compliments
of the Pitt Theatre and Its Employes. Our
Holiday Attraction is ‘Babes in Toyland,’
Starting Friday, December 22.”

The cards were given away starting De-
cember 1.

Aid on 'Cid' Promotion

Louis Wiethe, owner of the Valley The-
atre in Cincinnati, hired Ray Nemo and his
wife for promotional work on “El Cid,”
which opened December 21.

Realism Helps

Two mean-looking guns extending
from the top of the marquee of the
Orpheum Theatre at Havre, Mont.,
added realism to this front display ar-
ranged by Manager Bob Johnson for
“The Guns of Navarone.” The marquee
guns were made from discarded carpet
rolls, painted black. Red lights with
flashers were placed inside the gun bar-
rels and left on during the entire run.
The entire soundtrack was played out-
side through speakers. The M-41 tank
was obtained from the local National
Guard. Signs included a plug for
recruiting.

Paper advertising was used sparingly
around the front and on the boxoffice.
Emphasized was “The Greatest Adven-
ture Filmed.”

Johnson got together with Tom Grady
of Shelby, Mont., in a co-op promo-
tion involving four cities two days in
advance, opening day and two days
current. The TV station that reaches
all four cities is CJLH of Lethbridge
across the border in Alberta, Canada.
Spots were used on the local radio.

Breakfast by Mr. Tiffany!

For the opening of “Breakfast at Tif-
fany’s” at the Paramount Theatre in Abi-
lene, Tex., Manager Truman Riley located
a “Mr. Tiffany” and had him serve as host
at a special breakfast matinee where free
coffee and doughnuts were available. The
stunt got plenty of local attention and help
at the boxoffice.

Irving Singer, manager of the Amherst,
a Buffalo suburban house, used some good
personal-endorsement ads on “The Mark.”
They were headed, “Don’t Take Our Word
for It,” and went on to urge people to see
the picture and “then you too will share our
enthusiasm.”

BOXOFTICE Showmandiser :: Jan. 1, 1962

— 1 —

Kid Attendance Up 200% When City's
Union Women Push Nine-Week Series

Look-Dead Contest
For Midnight Show

It was a bit on the gruesome side, per-
haps, but a “Look Natural” contest put
over by Don Bowen, manager of the Law-

The ladies of the Sioux Falls (S.D.)
Council of the AFL-CIO auxiliaries deserve
a pat on the back for their sponsorship
of children's movies at the State Theatre
again this year.

These are the words of the Sioux Falls
Argus-Leader, appearing recently in an
editorial, which went on to say: “These
pictures are fine for children. They also
go over big with the kids, as anyone can
plainly see when the State Theatre dis-
gorges hundreds of bright-eyed, talkative
and alert youngsters on a Saturday after-
noon.”

The newspaper was referring to the
children’s movie series of nine Saturday
afternoon shows being presented under the
sponsorship of the auxiliaries of the Sioux
Falls Council of the AFL-CIO. The series
were started three years ago. The current
series opened October 28 and they wound
up December 23 with a giant “Big Free
Movie Bonus Show.” Season tickets were
$1 each.

HAD SEVERAL TURNDOWNS

Manager Cliff Knoll reports the current
series are the most successful to date. Knoll
turned to the labor council women after
turndowns by several female groups when
he was seeking a sponsor to help publicize
and sell tickets for children’s shows he
was planning in 1959. PTAs, clubwomen,
teacher associations, all had some reason
why they could not help. He finally went
to the labor council and its auxiliaries,
offering them a percentage of the tickets
sold through their efforts.

“Since we are not allowed to sell season
tickets in the schools,” Knoll relates, “we
organize the union women to flood the
city with season tickets, hoping that
through the tickets, our advertising and
publicity the youngsters will pay their
dollar for their tickets on the first Satur-
day of the series. They do just this and it
works out very fine and profitable for both
the union auxiliaries and us.

ALL 29 SCHOOLS COVERED

“By flooding the city we mean that the
union auxiliaries organize groups to dis-
tribute the tickets at each of the 29 local
schools, and through the cooperation of
the Labor Temple every branch of the
union is contacted and members of each
are given tickets for their youngsters. A
total of 25,000 tickets covered the city this
year and we are very happy with the per-
centage of these that were paid for.

“By tieing in the union auxiliaries it is
very easy to get the wholehearted coopera-
tion of both the local television stations,
the three radio stations, the daily news-
paper as well as union organs. Here in
Sioux Falls we arranged with the two tele-
vision stations to have their popular kiddy
personalities on hand in person the first
Saturday of the series. This aided in the
sale of season tickets.

“The nine-week promotion, I am happy
to report, has given us a 200 per cent
increase in our Saturday matinee business
not counting the tremendous business our

concession department does during them.”

The union women distributed, as noted
before, 25,000 special cards, approximately
9 1 / 4 x 3 1 /2 (with ticket attached), which
contain copy such as, “Take This Home!
Kiddies . . . And Teenagers, Too. Here’s
News! 1961 Third Annual Children’s Movie
Series ... 8 Movies plus a Free Bonus
Movie . . . Sponsored by the Sioux Falls
Council of AFL-CIO Auxiliaries at the
State Theatre . . .”

In smaller type appears a message ad-
dressed to “Dear Mom and Dad,” ex-
plaining principally that the season ticket,
one of which was attached at the bottom
(perforation) of each card, became valid
when a dollar was paid at the State Thea-
tre boxoffice . . . “no money will be col-
lected in the schools.”

On the other side of the card appeared
the schedule of attractions.

Senior Sees 'Around'
In Kennedy Rocker

Senior citizens of Austin, Tex., were in-
vited to write in 25 words or less “Why I
Would Like to see ‘The Second Time
Around’ in a rocking chair. The invitation
appeared in page-one stories in the Austin
American.

When the film opened at the Paramount
Theatre, Charles Root, Interstate manager
in Austin, had a choice seat in the audi-
torium removed and a rocking chair in-
stalled in its place, and the senior citizen
who submitted the best reason for wanting
to see the motion picture from a rocker
was brought to the theatre to view the
opening show from the specially installed
rocker.

The rocking chair remained in the the-
atre through the run of “The Second Time
Around,” and was reserved for the use of
whomever the contest winner designated.
In other words, the winner was entitled to
send a friend for each performance.

After “The Second Time Around” en-
gagement ended the rocking chair was re-
moved from the theatre and delivered to
the home of the winner.

The rocker was described as “a genuine
President Kennedy rocking chair.” It was
made by the P&P Rocking Chair Co. of
Asheboro, N.C., the firm which manu-
factured the much-publicized chair which
the President brought into the White
House.

Anyone over 60 was eligible to enter the
contest.

Gruesome Screams on Street

Wild and gruesome screams and other
soundtrack sounds issued from the Saenger
Theatre at New Orleans during the run of
“The Pit and the Pendulum.” With one of
the male staffers acting as the disc jockey,
the special record was played over the the-
atre’s outside speakers from midmorning
till late in the evening.

ford Theatre in Havana, 111., let about
everyone in the area know that a midnight
show was being presented at the Lawford.

The midnighter was a pre-Halloween
affair.

First he borrowed a beaten-up casket
from a furniture dealer-mortuary, who had
bought it from an insurance company after
it was damaged in a fire. Scorched as it
was, it presented a macabre appearance.
Bowen set it up in the lobby a week in
advance of the midnighter, then adver-
tised in the local paper that he was con-
ducting a “Look Natural” contest, in which
anyone was invited to lie down in the cas-
ket, and close his or her eyes while Bowen
snapped a picture. He advertised the con-
test would be judged by experts! . . . two *
local morticians. m

The winner was announced from the
stage at the midnighter.

The local paper went along with Bowen,
publishing a couple of pictures of local
people in the casket with the caption,
“Guess Who?”

Bowen had the casket rigged up with a
tape recorder which sounded off about
every two minutes with the screams of a
woman, recorded from a record. This
helped the Saturday kiddy show, since the
youngsters were very curious about the
screams, and many knocked on the casket
to see if they could get a response from the
woman inside.

The midnighter turned out a very satis-
factory gross.

Copy in Town Frames

“Be Alive to Others on the Road . . . And
Live to See ‘Return to Peyton Place’ at the
Gaumont,” this was the copy on posters in
18 frames throughout Woods Green, Eng-
land, controlled by the Middlesex County
borough. D. J. Goodman, manager of the
Gaumont Theatre there, also had two men
carrying signs out for the engagement.

Flower Show in Lobby

The lobby of Pittman’s neighborhood
Tiger Theatre in New Orleans was trans- ,d
formed into a garden of flowers on a late *-
summer Sunday by Manager Rudolph
Bosch sr. for the annual Tiger flower show.
Uncle Rudy, as Bosch is familiarly known
by Tiger patrons, introduced the gala event
several years ago.

— 2 —

BOXOFFICE Showmandiser :: Jan. 1, 1962

Twist, Vintage Cars
Herald 'Splendor'

The first promotion effort of A1 Marsden
of the Rowley United theatres at Corpus
Christi, Tex., following his return from
Army service and appointment as manager
of the Center Theatre there to succeed
Archie Neubaur, who was transferred to Del
Rio as Rowley city manager, was in behalf
of “Splendor in the Grass.”

First, Marsden made a homemade cir-
cular by cutting out pressbooks and maga-
zines. He mimeographed it and had it dis-
tributed in the boxoffices of the local
Rowley houses. He made arrangements
with a local costume shop to furnish Roar-
ing 20s costumes for all employes to wear
a week in advance of the picture. This,
with a ribbon saying “Splendor in the
Grass.” The theatre and snack bar were
decorated in the Roaring 20s era.

Next, he borrowed a 1902 Rambler from
the local Nash dealer and, with proper
signs, had it driven about town. When it
wasn’t in use, it was parked in front of the
theatre. On opening day the local antique
car club furnished 20 antique cars complete
with drivers dressed in oldtime attire. They
paraded through downtown and many
shopping centers, again with signs giving
full credit to the theatre. The KEYS radio
mobile unit went along with the parade
describing it en route as well as interview-
ing the spectators.

On opening night, with publicity well in
advance, Marsden arranged a dance con-
test. This was a tieup with Fred Astaire
studios which furnished prizes and the
judges. The contest consisted of the new
Twist as well as Charleston. The mobile
unit was present and gave radio coverage
of the action. People joined in and traffic
was stopped for blocks.

Photographic Exhibition
Held in Theatre Foyer

D. J. Goodman, manager of the Gaumont
Cinema in Woods Green, Middlesex
County, England, made many new friends
when he hosted the annual photographic
exhibition by students of the Middlesex
County Evening Institute. Goodman, who
has a reputation in arranging of exhibi-
tions, supervised the hanging of nearly
300 photographs in places, scenery, art
studies, people in various poses, etc., in the
circle foyer of the theatre.

The exhibition was opened by the mayor,
with the covmty education officers and
other borough representatives present with
their wives. The event was widely adver-
tised. Goodman even got a banner above
the main entrance of the county library as
well as posters in all the display frames
over the city reserved for public announce-
ments.

Over-60 Chair Contest

The San Antonio, Tex., News and Ex-
press, at the suggestion of Norman
Schwartz, manager of the Aztec Theatre,
sponsored a contest in which entrants
were asked to send in statements of 50
words or less on "How I Enjoy Life Over
60,” as a promotion for “The Second Time
Around.” The writer of the best statement
received a rocking chair, a replica of Presi-
dent Kennedy’s favorite.

Gimmick

Lobby

The questionnaire promo-
tion suggested by the pro-
ducer-distributor of “Splen-
dor in the Grass” was gar-
nished in impressive style at
the RKO Keiths Theatre in
Syracuse, N.Y. Manager S. L.
Sorkin arranged pressbook
material in lobby display
cases as illustrated herewith,
and draped a table on which
rested the ballot box in
voting booth with black
cloth. The arrangement was
designated the Controversy
Corner!

Bin

1 ran

i m

]" j

Here's Low-Cost Idea:
Menu Clips for Cafes

Here’s a little gimmick that goes very
far for its cost. Walter W. Bell, proprietor
of the New Cozy Theatre in Chetopa, Kas.,
had 5,000 scratch pad-size sheets, approxi-
mately 4x6 inches, printed with the follow-
ing at the top: “TODAY’S SPECIAL . . .
Eat Out Tonight . . . Then See a Good
Movie at the Theatre.” At the bottom was,
“New Cozy Theatre, Chetopa, Kas.”

The 5,000 were enough to supply the
three local restaurants for at least six
months; on this basis the three paid for
one half the expense of printing, which was
not much more than what plain scratch
pads would cost.

“They use the slips at luncheons as a clip
to the regular menu, and again in the eve-
ning,” Bell relates. “When we have an
attraction that we want to push a little
extra, I type in a supply for each restau-
rant, during the engagement of that fea-
ture, the words, ‘Now Playing . . . Gone
With the Wind,’ or whatever the title is.

“We find that most of the waitresses will
cooperate and give out monthly programs
to those who ask about the theatre. We
always leave a supply of the programs at
each restaurant.”

'Cinderella' Displays

Dan Goldberg arranged window displays
for “Cinderella,” holiday opener at the
World Playhouse in Chicago, with Wiebolt
department stores. Cinderella dresses and
shoes were featured, along with the tradi-
tional Cinderella slipper. Ladies were in-
vited to try the slipper, and receive
“Cinderella” gifts and a season’s pass to the
World, if it fit.

Host for 'Drum Song'

Jimmy Wong, owner of one of the finest
Chinese restaurants in Chicago hosted a
Chinese feast for disc jockeys in behalf of
“Flower Drum Song” at the Chicago The-
atre. Decca Records hosted a series of
special “Flower Drum Song” screenings in
the Universal screening room for record
dealers and radio and TV folk.

Real MD on Job With
First Aid Promotion

Dr. Harold Kushell, surgeon at Ford-
ham Hospital, took time off to add credi-
bility to a promotion for an Election Day
horror show presented at the Vogue The-
atre on East Tremont avenue in the Bronx,
N. Y. Arnold Kirsch, the manager, doesn’t
mention how he got the surgeon away from
his schedule, but Doctor Kushell spent a
few hours out front prior to the 5 p.m.
show with an ambulance and nurse (see

photo), with signs saying that “We Are
Prepared” in case anyone fainted or needed
medical attention!

The nurse (the cashier) sat at a table
on which were smelling salts, iodine, band-
ages, etc.

Kirsch distributed 6,000 faint checks, 5x3
inch cards, printed one side, plugging
“Frankenstein 1970” and “Brides of Drac-
ula,” plus a Three Stooge comedy and car-
toons, to the school neighborhoods. Some
6,000 bookmarks, proclaiming, “Hey Kids!
Giant Horror and Laff Show, etc.,” were
passed out in the same areas.

The ambulance for opening day display
in front of the theatre was supplied with-
out charge by Park Ambulance & Oxygen
Service Co. The newspaper picked up a
photo of the ambulance promotion.

Kirsch reports the Election Day special
show drew over 800 children and 300 adults
to the 974-seat Vogue.

BOXOFFICE Showmandiser :: Jan. 1, 1962

— 3 —

Sharp in Public Relations in Small Towns

GO TO THE MOVIES WEEK’

PROCLAIMED BY

MAYOR VIGIL

<1 NDAT, NO! 12
THRU SATURDAY
NOV. 18

DOORS OPEN
SUNDAY 12 JO
CONTINUOUS
SHOWING
FROM 1 JO P_M.

OTHER MTR> DOORS
OPEN 6 JO
MOYIETIME 7 P3L

THANK YOU
MAYOR VIGIL

w »rrnr> i»tion or mi

klM’NCSv »M1 THt ■UK

ikjcnomhp ixrvMiti* is sr

THK PKOTLS or BSFANOLA

Everyone Purchasing
A Ticket During
“Go to the movies week"
Will Receive I
Another Ticket ■

WTiich will Admit H»em
At A Later Date!

II HITTER MOV1B

-¥■

YOU .ARE IN VITED TO VISIT
OUR NEW REMODELED

EL RIO

THEATRE

WE WELCOME
YOUR INSPECTION

ENJOY THESE HIT ATTRACTIONS ON OUR NEW WIDE SOUND SCREEN!

We Are Proud To Have Brought you The Following :

NOTHING HAS VtT BUN INVENTED THAT CAN COMPARE V
RE YOU SHOOK UP ANO UNHAPPY’ ARE YOU TIRED O

QUIT TAKING TV PILLS EVERY NIGHT

RELAX! FORGET YOUR TROUBLES' LAUGH A CRY WITH OTHERS'
DON’T BE LAZY' ENJOY A NIGHT OUT'

Varsity

Another Theatre Open On Week-Ends
lor Adults! Enjoy Quiet' No Popcorn!

OUjiripJf

»mm HMiROff
ONE CENT NIGHT-TUESDAYA WEDNESDAY
I FOR 60< - 2 FOR 61<

"THE BIG GAMBLE"

STIRRING DRAMA

FREE KLEENEX

FOR THE LADIES

COMING SOON

COME SEPTEMBER
GUNS OF NAVARONE
THE SECOND TIME AROUND
BLUE HAWAII PARIS BLUES
SPLENOOR IN THE GRASS
GREYERIAR S BOBBY

Here are two public relations efforts
which show that talent and imagination
are not a monoply of high-priced, big-city
publicity experts. The two layouts come
from the small communities of Espanola,
N.M., where J. L. Rice manages the El Rio
Theatre, and Canyon, Tex., where Charlie
Donnell operates the Varsity and Olympic
theatres. Both ads were about three-
quarters of a page.

The occasion for the ad at left was the
remodeling of the El Rio, which is a Dolli-
son -owned house along with the Chico
Drive-In at Espanola. Manager Rice and
Dollison had Mayor Cipriano Vigil pro-
claim a Go to Movies Week in which His
Honor noted that “a clean, well-equipped
movie theatre is well known to be an asset
to the cultural and business activity of any
community.” The mayor also noted that
Dollison awards an annual scholarship to

a deserving boy or girl in the Espanola
schools, and asked each citizen in the
Espanola valley to attend a movie at least
once during Go to the Movies Week.

The ad at right is the handiwork of
Charles Donnell, who believes theatremen
should “give the public a nice bit of per-
sonal, eye-catching ads to stimulate their
interest and make them realize the exhibi-
tor has a relaxing form of entertainment
that can be enjoyed by the entire family.”
He listed the titles of 40 or so outstanding
pictures which “we are proud to have
brought to you,” then concluded his mes-
sage with, “Quit Taking TV Pills Every
Night! Relax! Forget Your Troubles!
Laugh and Cry With Others! Don’t Be
Lazy! Enjoy a Night Out!” The Olympic,
at the time the ad was published, was open
on weekends for adults.

The Donnell ad had no sponsors.

Oldest Errand Boy
(87) Feted on Stage

Through Maggie Daly of the Chicago
American, the oldest errand boy in Chi-
cago was located — a young man of 87!
He received several stories and photos in
the newspaper and was presented a plaque
from the stage of the Chicago Theatre by
Jesse Owens, former U. S. senate page
where “The Errand Boy” opened. He was
also presented at a special morning show-
ing of “The Errand Boy” for local or-
phanages as the guest of Daily News col-
umnist Tony Weitzel.

A tieup with radio station WGN seek-
ing clothing for orphans also gave “The
Errand Boy” many free plugs. Several
Sony transistor radios were distributed as
prizes in other promotions.

In a contest arranged with local disc
jockeys, listeners were urged to describe
in 25 words or less “Why they would like
to be Jerry Lewis’ Errand Boy.” The win-
ner was announced from the stage of the
theatre by jockeys Ernie Simon of WJJD,
Jerry Healey of WBBM and Gene Taylor of
WLS.

Jerry Lewis, via special wire from Las
Vegas, spoke to the audience, the disc
jockeys and complimented the winner who
was presented red-carpet treatment as
Lewis’ guest at the Sands Hotel in Las
Vegas.

In another contest, more than 4,000 let-
ters and “Errand Boy” tags were mailed
to leading commercial and industrial
firms asking their “errand boys” to write
their most unusual and funniest experience.
The first 200 replies received guest tick-
ets to see “The Errand Boy.” On opening
day an additional 1,000 tags were dis-
tributed.

Hardings, with ten restaurants in the
Loop area, featured an “Errand Boy
Special” for the week. The restaurant re-
ceived guest tickets for distribution to their
favorite orphanage. The theatre provided
special errand boys (B&K ushers) to de-
liver the group to a special morning show.

Wanda Witch Is Only 3
But Has Big Following

Halloween was the third “birthday” an-
niversary of Wanda Witch, none other than
Mary Gremillion of the Do Drive-In at
New Orleans in makeup. For the holiday,
Wanda announced that “horrible prizes”
would be awarded to “the creepiest ghoul
in costume” at the airer; also that she
would make “the world’s first broadcast
from a coffin.” Wanda has become well
known all over the city, since the Do
Drive-In presents spook shows on occasion
throughout the year.

Hospital Gadgets Lure
Attention for 'Doctors'

A collection of hospital equipment — an
ambulance stretcher, oxygen tank with
regulator and mask, an invalid’s chair,
crutches, merical table, etc. — proved fasci-
nating to a lot of people at the Vogue The-
atre in the Bronx, N.Y., before and during
“The Young Doctors.” Manager Arnold
Kirsch had two such displays for the film;
one in the lobby two weeks in advance,

which included a Princess telephone hook-
up, and the other in the window of a store
under the Vogue marquee.

The phone rested on a table in front of
the hospital equipment. A sign invited
patrons to pick up the phone and listen to
a message! This was about “The Young
Doctors” and the Princess telephone.

The AA Ambulance & Oxygen Service Co.
loaned much of the equipment to Kirsch.
The kids particularly enjoyed the telephone
gimmick, and looking over the hospital
tools.

The X-15 in Chicago

The Air Force full-scale mockup of the
X-15 spaceship stopped at the Museum of
Science and Industry in Chicago late in
November in behalf of the film X-15.

Big Pendulum Under Marquee

An immense pendulum, similar to the
sinister instrument in the picture, was
hung under the marquee of RKO Keiths
in Syracuse, N.Y., as a very effective pro-
motion for “The Pit and the Pendulum.”
Made in the theatre workshop, it weighed
more than 100 pounds.

Ten Local Girls Parade
In Stores for 'Can-Can'

C. V. Mitchell, manager of Armstrong’s
State Theatre in Defiance, Ohio, got ten
girls to help him out on an opening-night
promotion for “Can-Can.” He promoted
cancan dancer costumes from a local cos-
tume dealer, complete with black stockings
and red garters, for the girls and had them
go through the downtown stores on a Fri-
day night when the retailers are open till
9, talking up the film. After an hour and
a half of this, they returned to the front of
the theatre where Mitchell had a record
player reproducing soundtrack music. The
young dancers sat at improvised tables
sipping punch and eating some promoted
baked goods, and popcorn.

It was fun for the girls, and a shot in the
arm for the boxoffice. The local paper got
a photo of a couple of the girls in the can-
can step and used it in a two -column size.

A Chicago Balloon Race

Among promotions for the “Mysterious
Island” premiere at Chicago is a balloon
race by 50 science students.

— 4 —

BOXOFTICE Showmandiser :: Jan. 1, 1962

An interpretive analysis of lay and tradepress reviews. Running time is in parentheses. The
plus and minus signs indicate degree of merit. Listings cover current reviews, updated regularly.
This department also serves as an ALPHABETICAL INDEX to feature releases. © is for
Cinemascope; ® VistaVision; © Superscope; © Panavision ® Regalscope; © Technirama.
Symbol ij denotes BOXOFFICE Blue Ribbon Award; © color photography. For listings by
company in the order of release, see FEATURE CHART.

Review digest

AND ALPHABETICAL INDEX

44 Very Good; + Good; — Fair; — Poor; — Very Poor.

- S'h 1

** JE 0 2
= Hi* X

OlS iZQ

2550 ©Ada (108) © Drama .

. MGM

8- 7-61

2552 After Mein Kampf

(74) Semidoc'y

. . . Brenner

8-14-61

2546 ©Alakazam the Great

(84) Cartoon Feature

AIP

7-17-61

2516 ©All Hands on Deck (98) ©

Farce-Comedy

. 20th-Fox

4-17-61

2574 Anatomist, The (73) Dr....

. Gordon-SR

10-30-61

2562 Anatomy of a Psycho (75) D

r SR

9-18-61

—

2524 Angel Baby (97) Drama .

5-15-61

2548 Anna’s Sin (86) Drama

English-dubbed

7-24-61

2549 Armored Command (99) War

Dr AA

8- 7-61

2578 Atlantic Adventure (62)

Real-life Adv. Dr

.Schoenfeld

11-13-61

2518 ©Atlantis, The Lost Continent

(91) Science-Fiction . . .

. . .MGM

4-24-61

2541 ©Atlas (Sb4) Spec. VitaScope.

. Filmgroup

7- 3-61

2586 ©Babes in Toyland (100) Mus BV 12-11-61 -f

2583 ©Bachelor Flat (91) © Com . .20th-Fox 12- 4-61 +
2576 ©Bachelor in Paradise

(109) © Com MGM 11- 6-61 4f

2570 ©Back Street (107) Drama U-l 10-16-61 44

2569 Badjao (100) Action Dr Parallel 10-16-61 ±

2545 Battle at Bloody Beach, The

(80) © War Drama 20th-Fox 7-17-61 +

2517 Behind the Mask (85) Or Showcorp 4-24-61 +

2517 Bernadette of Lourdes

(91) Religious Drama Janus 4-24-61 ±

2531 Beware of Children (80) Com AIP 6- 5-61 +

2526 ©Beyond All Limits (100) Dr Omat 5-15-61 44

2556 ©Bip Gamble, The (100) © Ad. 20-Fox 8-28-61 +
2528 ©Big Show, The (113) © Dr. 20th-Fox 5-22-61 44
2520 ©Bimbo the Great (87) Circus Dr...WB 5- 1-61 +

2566 Black Pit of Dr. M (71) Ho. UPRO 8- 2-61 ±

2516 Blast of Silence (77) Drama U-l 4-17-61 +

2560 ©Blood and Roses (74) © Dr. ..Para 9-11-61 ±

2579 Bloodlust (68) Horror Crown 11-20-61 —

2582 ©Blue Hawaii (101) ® Com/Mus Para 11-27-61 +
2566 Boy Who Caught a Crook (72) Ac. ..UA 10- 2-61 +

2543 Brainwashed (78) Dr AA 7-10-61 ±

2568 ©Breakfast at Tiffany’s (115) C'y Para 10- 9-61 44
2554 Bridge to the Sun (112) Drama. .MGM 8-21-61+4
2534 ©By Love Possessed (US) Drama UA 6-12-61 +

2578 ©Call Me Genius (105) Com Cont’l 11-13-61 ±

2583 Capture That Capsule! (75)

Action Drama Riviera-SR 12- 4-61 ±

2551 Cat Burglar, The (65) Ac Dr UA 8-14-61 ±

2588 Children's Hour, The (109) Dr. .. MGM 12-18-61 4+

2558 Claudelle Inglish (99) Dr WB 9- 4-61 ±.

2550 Cold Wind in August (80) Dr...Aidart 8-7-61+
2575 ©Comancheros, The (107) ©

Outdoor Drama 20th-Fox 11- 6-61 +4

2544 ©Come September (112) © Com. ..U-l 7-10-61 +4

2549 Creature From the Haunted Sea

(60) Horror Spoof Filmgroup 8- 7-61 +

2521 Cry Freedom (90) Dr Parallel 5- 8-61 ±

2521 ©Curse of the Werewolf, The

(91) Horror Drama U-l 5- 8-61 44

2528 ©David and Goliath (93)

2559 Day the Sky Exploded, The

(80) Science-Fiction Excelsior 9-11-61 +

2535 ©Deadly Companions, The (90)

Panav’n, Western Pathe-America 6-12-61 44

2547 Dentist in the Chair (84) Com Ajay 7-24-61 +4

2564 ©Devil at 4 O’clock, The

(127) Adv. Dr Col 9-25.61 4+

2573 Devil’s Hand, The (71)

Horror-Terror Crown-SR 10-30-61 ±

2588 Double Bunk (92) Farce Showcorp 12-18-61 +

2527 ©Dr. Blood’s Coffin (92) Ho UA 5-22-61 —

— E—

2588 ©El Cid (184) © Hist. Spec AA 12-18-61 ++

2585 Errand Boy, The (92) Comedy. ... Para 12-11-61 +
2577 Everything’s Ducky (80) Comedy. ... Col 11-13-61 —
2490 ©Exodus (212) Sucer-Panavision 70

Drama UA 12-26-60 44

2562 Explosive Generation, The

(90) Dr UA 9-18-61 +

3+3-

-+-

6+4-

—

2+3-

8+2-

2+2-

±.

4+1-

9+1-

8+1-

6+1-

+ 104-

10+1-

4+1-

7+4-

2+1-

—

4+1-

7+1-

44 10+1-

—

5+5-

1+1-

7+3-

-4-

7+6-

1—

-h

6+1-

—

4+5-

7+1-

+ 11+

44 11+

8+2-

3+2-

2+3-

2+1-

7+4-

7+3-

+ 10+

44 13+

4+1-

8+3-

6+1-

44 12+

1+1-

-+-

4+2-

4+5-

44 11+

-f-

6+5-

44 14+

■±2

7+1-

In the summary 44 is rated 2 pluses, — as 2 minuses.

2520 Fabulous World of Jules Verne, The

2542 ©Fanny (133) Com. Dr 20th-Fox 7- 3-61 4+

2557 Fast Set, The (84) Comedy Audubon-SR 9- 4-61 ±
2577 Fear No More (80) Suspense Dr. Sutton 11-13-61 +
2526 ©Ferry to Hong Kong (103)

2531 Five Golden Hours (90) Comedy ...Col 6- 5-61 +
2575 ©Flight of the Lost Balloon

(91) © Adventure Woolner 11- 6-61 +

2563 Flight That Disappeared, The

(72) Science-F'n UA 9-25-61 +

2538 Follow a Star (102) Comedy . . . Zenith 6-19-61 ±
2580 ©Flower Drum Song (133)

2577 ©Force of Impulse (84) Dr Sutton 11-13-61 +

2548 ©Francis of Assisi (105) ©

Religious Drama 20th-Fox 7-24-61 4|

2523 Gambler Wore a Gun, The (67) W’n. UA 5-15-61 ±
2585 George Raft Story. The (105)

Biographical Drama AA 12-11-61 +

2533 ©Gidget Goes Hawaiian (102) C/M.. Col 6-12-61 +

2579 ©Gina (92) Adv. Dr Omat 11-20-61 44

2542 ©Girl in Room 13, The (79) Astor 7- 3-61 +

2563 Girls on the Run (64) Mys Astor 9-25-61 rt

2544 Goodbye Again (120) Dr UA 7-10-61 +

2481 Great Impostor, The (112) Dr U-l 11-28-60 4+

2560 Great War, The (118) Drama .... Lopert 9-11-61 +

2540 Green Helmet, The (88) Ac MGM 6-26-61 +

2556 ^©Greyfriars Bobby (91) Drama . . . .BV 8-28-61 4+

2529 Gun Fight (62) Western UA 5-29-61 ±

2587 Gun Street (67) Western UA 12-18-61 ±

2533 ©Guns of Navarone, The (155)

— H —

2488 Hand in Hand (75) Dr Col 12-19-60 +

2572 Head, The (95) Horror Trans-Lux 10-23-61 +

2535 Hitler’s Executioners (78)

Documentary Vitalite 6-12-61 ±

2539 Homicidal (87) Mys Col 6-26-61 +

2546 ©Honeymoon Machine (87)

2530 ©House of Fright (80) C Ho AIP 5-29-61 +

2565 Hustler, The (134) © Drama. ,20th-Fox 10- 2-61 +

2587 Innocents, The (100) ©

Suspense Drama 20th-Fox 12-18-61 ++

2556 Invasion Quartet (87) Com-Dr ..MGM 8-28-61 ±

2574 Judgment at Nuremberg (189) Dr UA 10-30-61 44

— K—

2536 ©King in Shadow (78)

Historical Dr Exclusive 6-12-61 +

2571 $|©King of Kings (161) ©

Relig.ous Drama MGM 10-23-61 44

2540 King of the Roaring 20’s

(106) Cr. Drama AA 6-26-61 +

2582 Kitchen, The (74) Drama. ... Kingsley 11-27-61 +

— L—

2533 ©Ladies Man, The (106) Com Para

2561 ©Ust Rebel, The (S3)

Adv. Dr Sterling World

2532 ©Last Sunset, The (112) W’n U-l

2529 Last Time I Saw Archie, The

(98) Comedy UA

2563 Lisette (83) Action Medallion

2549 ©Loss of Innocence (99) Dr Col

2534 ©Love in a Goldfish Bowl (87)

Comedy/Songs MGM

— M—

6-12-61 +4

9-18-61 +
6- 5-61 4+

5- 29-61 +
9-25-61 -
8- 7-61 ++

6- 12-61 +

2524 Mad Dog Coll (88) Ac Dr Col 5-15-61 +

2552 ©Magic Boy (75) Cartoon Feature.. MGM 8-14-61 ++
2580 ©Majority of One, A (153)

Comedy-Drama WB 11-20-61 ++

2541 Man in the Moon (98) Com. . .Trans-Lux 7- 3-61 +

2562 Man-Trap (93) Ac Dr Para 9-18-61 +

2554 ©Marines, Let’s Go (104) ©

Service comedy 20th-Fox 8-21-61 ±

2573 Mark, The (127) © Drama Cont’l 10-30-61 ++

2546 Mary Had a Little (79) Comedy UA 7-17-61 ±

2576 Mask, The (S3) Depth-dimension

Horror Drama WB 11- 6-61 +

4+ 44 44 44 4+

- + - +

- ± + ± ±

± ± ± 4+

- +

+ + +4+4 4+

± + 44 + +

4+ +

- + + 44 4+

+ 44 44 + ±

4+ + 4+ 4+ 44

± 44 +

- + ± ± +

+ 44 + +4 44

± + + -

4+ +4 +4 4+ +4

+4 4+4+4+4+

- - + ± -

++ + + ++ +

+ + 44 44 44

± ± + ±
+ + 44 44 +4

+4 +4 44 4+

± + + + +

44 4+ 4+ +4 +4

+4 44 44 44 +

+ ± 44 + +

± + + 44 +

± ± 44 + +

+ ± 44 + +

+ + 4+ + 44

± ± + - ±

+ ± + + ±

+ + + 44 44

+ 44 44 44 44

+ + + +
± — + ± ±

± ± + ±

+ + 44 44 44

± - + -

- - + 44 ±

44 14+

1 + 1 -

1 +

3+2-
± 6+5-

2 + 2 -

± 7+4-
± 3+3-

44 12+

1 +

44 10+1-

+ 8+1-

2 +

1 +

1 + 1 -
44 10 + 1 -
+ 12 +

+4 7+1-
± 6+4-
44 12+
4+3-
1+2-

44 14+

44 13+
3+4-

3+1-
+ 9+

+ H+

5+3-

44 H+

10 +

± 7+3—
44 14+

1 +

44 13+

+ 8 + 1 -
± 3+1-

± 9+2-

1 +

+ 9+2-

7+1-

1—

+ 10+

+ 6+4-

± 7+3-
9+

11 +

44 7+

+ 6+4-

± 6+5-
44 12+
3+4-

± 6+4-

BOXOFFICE BookinGuide j: Jan. 1, 1962

REVIEW DIGEST

AND ALPHABETICAL INDEX

In the summary ft is rated 2 pluses, — as 2 minuses.

t+ Very Good; + Good; — Fair; — Poor; — Very Poor

Film Daily

Hollywood

Reporter

Parents’

Magazine

New York
Daily News

Summary

± 11+1-

+ 8+

+ 8+2-

- 3+5-

&t-l-

5+3-

5+5-

5+2-

± 5+2-

± 6+4-

—

± 5+7-

+ 8+2-

tf 14+

± 6+5-

+ 6+1-

ff 14+

1+1-

6+3-

± 9+2-

-4-

5+4-

+ 7+2-

2+3-

—

± 4+3-

ff 9+1-

2+1-

-+-

-t-

ff 10+2-

± 7+3-

2+1-

ft 7+

5+2-

+ 11+

+ 10+2-

ff 12+

+ 7+

3+5-

+ 8+1-

± 7+5

34-

ff 14+

4+5-

1+1-

-f-

+ 7+4-

6+3-

6+2-

8+2-

—

4+5-

± 13+1-

~ O >,

| o , *Z o 5
g 1 fc & ?5

fc Jv fe;
r k = >

« ro £ 5
So. zo

2525 ©Master of the World (104)

Science-Fiction Drama AIP 5-15-61 ft

2532 Matter of Morals, A (90)

Drama UA 6- 5-61 +

251S Mein Kampf (117) Documentary ....Col 4-2461 +

2523 ©Minotaur. The (92) © Adv UA 5-15-61 +

2537 ©Misty (92) © Youth Classic 20th-Fox 6-19-61 ft
2535 ©Morgan the Pirate (93) © Adv. MGM 6-12-61 +

2535 Mast Dangerous Man Alive (82) SF Col 6-19-61 +

2569 Mr. Sardonicus (90) Ho Col 10-16-61 +

2587 ©Mysterious Island (101)

Anamorphic, Adv Col 12-18-61 +

— N—

2543 Naked Edge. The (102) Susp. Dr. UA 7-10-61 ft d
2545 Naked Road. The (74) Melo.-.Zison Ent 7-17-61 —

2519 ©Nature Girl and the Slaver

(70) Adv UPRO 9- 1-61 ±

2553 Never Take Candy From a Stranger

(82) Psychological Dr Omat 8-21-61 +

2536 ©Nikki, Wild Dog of the North

(73) Outdoor Drama BV 6-12-61 +

2574 Ninth Bullet, The (90)

Adventure Dr Audubon-SR 10-30-61 ft

2527 ©On the Double (92)

Panavision Comedy Para 5-22-61 ft

2555 One Plus One (114) Dr SR 8-28-61 ±

2583 One, Two, Three (115) © Comedy UA 12- 4-61 ft

2510 Operation Bottleneck (78) Ac UA 3-13-61 +

2554 Operation Camel (74) Serv. Comedy.. AIP 8-21-61 i

2509 Operation Eichmann (92) Drama . . . AA 3-13-61 H-

2523 y©Parent Trap, The (124) Comedy BV 5-15-61 ft

2566 Paris Blues (98) Drama/Jazz UA 10- 2-61 ft

2510 ©Parrish (137) Orama WB 3-1361 ft

2520 ©Pharaohs’ Woman, The (88)

2585 ©Pirate of the Black Hawk, The

(75) © Adventure Filmgroup 12-11-61 +

2559 ©Pirate and the Slave Girl, The

(87) Adv Crest-SR 9-1161 +

2567 ©Pirates of Tortuga (97) © Adv 20-Fox 10- 9-61 +
2552 ©Pit and the Pendulum, The (85)

2519 ^©Pleasure of His Company, The

(114) Comedy Para 5- 1-61 ft

2578 ©Pocketful of Miracles (137)

Comedy-Drama UA 11-13-61 ft

2515 Portrait of a Mobster (108)

Crime Drama WB 4- 3-61 ft

2522 Portrait of a Sinner (96) Dr AIP 5- 861 ft

2530 ©Primitive Paradise (66)

Documentary Excelsior 5-29-61 ft

2570 Pure Hell of St. Trinian’s,

The (94) Farce Cont’l 10-16-61 ±

2573 ©Purple Hills, The (60)

2580 ©Purple Noon (115) Murder Dr. . .Times 11-20-61 +

2561 Queen of the Pirates (80)

2516 Question 7 (110) Dr DeRochemont 4- 361 ft

2516 Raisin in the Sun, A (128) Dr Col 4- 361 ft

2551 Rebellion in Cuba (80) Doc Dr IFD 8-14-61 ±

2564 Respectful Prostitute, The

(74) Dr. (Eng-dubbed) Times 9-25-61 ±

2522 ©Return to Peyton Place

(122) © Drama 20th-Fox 5- 8-61 ff

2529 ©Revolt of the Slaves (100)

2526 Right Approach, The (92)

2519 ©Ring of Fire (91)

Outdoor Action MGM 5- 1-61 +

2568 Risk, The (81) Drama Kingsley 10- 961 +

2584 ©Roman Spring of Mrs. Stone,

The (103) Drama WB 12- 4-61 -f

2524 ©Romanoff and Juliet (112) Com... U-l 5-15-61 ff

2557 Rommel’s Treasure (85) Ac. . . Medallion 9-4-61+
2564 Ruffians, The (86)

Susp. Dr. (Eng-dubbed) Ellis 9-2561 -f-

— s —

2558 Sand Castle, The (70)

True-Life Fantasy DeRochemont 9- 461 ff

2515 Saturday Night and Sunday

Morning (90) Drama Cont’l 4-17-61 +

tt ± ff ff ff + 12+1-

+ + + + + ± 7+1-

tt + + ft ft 9+

± ± f — ± 5+4 —

+ + ft ft -H- ft 12+

+ + + ± ± ± 7+3-

- - ± - — 2+5-

- + + + ± ± 6+3-

+ + tf ft + ± 9+1-

+ ft + ft ft 11+1—
1-

1+1-

12+1-

-t~

6+4-

—

4+3-

1+1-

—

8+2-

13+

11+1—

4+4—

1+1-

—

6+4-

8+1-

11+1-

10+1-

3+3-

H-

4+1-

-V-

5+1-

3+2-

—

10+1—

12+

2+1-

2+2-

9+1-

5+3-

5+5-

9+2-

6+1-

ff :

U+

f ur o

— ~ & 2

2464 ©Savage Innocents, The (89)

® Adv. Dr Para 9-26-60 ff ff +

2551 Scream of Fear (81) Susp. Dr Col 8-1461 + + +

2569 Season of Passion (92) Dr UA 10-16-61 + ± ff

2567 Secret of Deep Harbor (70) Dr.. .UA 10- 9-61 ± —

2575 ©Second Time Around, The (99)

©Farce-Comedy 20th-Fox 11- 6-61 + + ±

2550 ©Secret of Monte Cristo, The

(SO) © Adv. Dr MGM 8- 7-61 + + ±

2561 Sergeant Was a Lady, The

(72) Service Comedy U-l 9-1861 + ± ±

2570 Seven Women From Hell (88)

2521 Shadow of the Cat, The

(79) Horror Drama U-l 5- 8-61 + ±

2539 Silent Call, The (63) C Dr. . ,20th-Fox 6-26-61 ± — +

2547 ©Sins of Mona Kent, The (75)

Drama Astor 7-24-61 +

2528 Snake Woman, The (68) Horror . . . . UA 5-22-61 dr ± —

2530 ©Snow White and the Three

Stooges (107) © Fant’y 20th-Fox 529-61 ff ± —

2560 ©Splendor in the Grass (124) Or...WB 9-11-61 ff ff ff

2525 ©Steel Claw, The (96) Ac WB 5-15-6L ± + -

2536 Stop Me Before I Kill! (93)

Suspense Dr Col 6-1261 + + +

2584 ©Summer and Smoke (118) ® Dr. .. Para 12- 4-61 ff ff ff

2558 ©Sun Lovers Holiday (65) ©

Novelty Astor 9- 4-61 ±

2568 ©Susan Slade (116) Drama WB 10- 9-61 ± + ±

— T—

2539 t^©Tammy Tell Me True

(97) Com. Dr U-l 6-2561 + rfc +

2555 Teenage Millionaire (84)

Musical (some color is used)....UA 8-28-61 + ± ±

2543 ©Thief of Baghdad

(90) © Ad. Fantasy MGM 7-1061 + + d:

2534 Three Blondes in His Life

(73) Mystery Cinema Assoc 61261 ± —

2559 Three on a Spree (83) Comedy ....UA 9-11-6L + ±

2557 ©Thunder of Drums, A (97)

2542 Time Bomb (92) Suspense Dr A A 7- 3-61 +

2572 Town Without Pity (105) Dr UA 10-23-61 ff + +

2510 <yk©Trapp Family, The (106)

Comedy-Drama 20th-Fox 3-13-61 + + d:

2541 Trouble in the Sky (76) Action-Dr.. . U-l 7- 3-61 ±

2548 Truth, The (Le Verite) (127)

Dr., Eng. -dubbed Kingsley 7-24-61 ff +

2586 Trunk, The (72) Suspense Dr Col 12-11-61 +

2544 20,000 Eyes (61) © Dr 20th-Fox 7-1061 + ±

2525 ©Two Loves (100) © Drama ....MGM 5-1661 ff ff +

2538 ©Two Rode Together (109) Dr Col 6-19-61 ff + ±

2565 Two Women (105) Dr. (Eng dubbed)

Also with titles Embassy 16 2-61 ff ff ff

— U —

2545 ©Upstairs and Downstairs

(100) Comedy 20th-Fox 7-17-61 ff ff +

2553 Unstoppable Man, The (68)

Suspense Drama Sutton 8-21-61 +

—V—

2581 Valley of the Dragons (79) Adv Col 11-27-61 ± — —

2540 ©Voyage to the Bottom of the

Sea (105) © Ad 20th-Fox 6-26-61+ + +

— W—

2527 ©Warrior Empress, The (87)

2586 Weekend With Lulu, A (91) Comedy.. Col 12-11-61 ff
2567 ©West Side Story (115)

Panavision, Musical Dr UA 10- 9-61 ff ff ff

2532 When the Clock Strikes (72)

Mystery UA 6- 5-61 ± — ±

2584 Wild for Kicks (92) Dr Times 12- 461 ±

2537 ©Wild in the Country (114)

2565 Wild Youth (73) Dr Cinema Assoc 10- 261 —

2576 ©Wonders of Aladdin, The (93)

2553 ©World by Night (103)

A survey of world night spots. . . .WB 8-2161 + + dt

— XYZ —

2579 © X - 1 5 (112) ® Dr UA 11-20-61+ ± ±

2547 You Have to Run Fast (73)

Suspense Drama UA 7-24-61 ± ±

2555 Q Young Doctors, The (102) Dr UA 8-28-61 ff ff ff

2518 Young Love (80) Drama Exclusive 4-2461 +

2517 Young Savages. The (103) Dr UA 4-2461 ff ff +

1 +

ff ff + + 11+

BOXOFTICE BookinGuide

:: Jan. 1, 1962

Feotye productions by company in order of release. Running time is in parentheses. © is for CinemaScope;
® VistaVision; © Superscope; ® Panavision; ® Regalscope; © Technirama. Symbol (J denotes BOXOFFICE
Blue Ribbon Award; © color photography. Letters and combinations thereof indicate story type — (Complete
hey on next page.) For review dates and Picture Guide page numbers, see REVIEW DIGEST.

Feature chart

ALLIED ARTISTS | ti

AMERICAN INT L | U

COLUMBIA I U

M-G-M 1 ii

Time Bomb (92) D..61G4

Curt Jurgens, Mylene Drmongeot

Beware of Children (80).. C . 606
Leslie Phillips. Geraldine McBwan,
Julia Iaiekwond

A Raisin in the Sun (128) . . D .533

Sidney Poitier. Claudia McNeil

The Terror of the Tongs

(80) Ac . 530

Geoffrey Toone, Christoper Lee

Angel Baby (97) 0..6105

Joan Blondell, George Hamilton,
Mercedes McCambridge, Salome Jens

©David and Goliath

(93) © Bib D .6106

(hson Welles, Ivo Payer,

Pierre Cressoy

Mad Dog Coll (88) Cr..534

K. Doubleday, B. Hayward
Five Golden Hours (90) . . . . D . 539
Ernie Kovacs, Cyd Oharisse
Stop Me Before 1 Kill

(93) © D. .535

Claude Dauphine. Diane Cilento

Mein Kampf (117) Doc.. 538

©Warrior Empress (87)

Kerwin Mathews, Tina Louise

©Atlantis, the Lost

Continent (90) Ad .113

Joyce Taylor, Anthony Hal!

©Two Loves (100) © . .D..117
Shirley MacLaine. Laurence Harvey,
Jack Hawkins

King of the Roaring 20’s

(106) Cr. 6107

David Janssen, Diane Foster,

Jack Carson, Diana Dors,

Mickey Rooney

Brainwashed (78) D..6108

Curt Jurgens, Claire Bloom

©Master of the World

(104) SF. .607

Vincent Price. Charles Bronson,
Henry Hull, Mary Webster

©House of Fright (80) ..Ho.. 604
Paul Massie, Dawn \ddams

Operation Camel (70) ....C..605

Nora Hayden, Louise Benard

Homicidal (87) Ho.. 540

Glenn Corbett. Patricia Breslin

Most Dangerous Man Alive

(82) Ac.. 541

Ron Randell, Debra Paget,

Elaine Stewart

©Ring of Fire (91) Ac. .119

David Janssen, Joyce Taylor,

Frank Gorshin

The Green Helmet (88) ..Ac.. 116
Bill Travers, Ed Begley.

Nancy Walters

Armored Command (99) . Ac . . 6109
Howard Keel, Tina Louise

©Alakazam the Great (84) An. . 608

Cartoon feature, with voices of
Frankie Avalon and others

JULY-AUGUST
©Gidget Goes Hawaiian

(102) © 0 603

James Darren, Deborah Walley,
Michael Callan, Vicki Trickett
©The Guns of Navarone

(155) © D. .603

Gregory Peek, David Niven
©Two Rode Together

(109) 0 0 602

James Stewart, Richard Widmark,
Shirley Jones, Linda Crtstai

©Morgan the Pirate

(93) © Ad.. 120

Steve Reeves, Valerie Lagrange
©The Honeymoon Machine

(87) © C. .122

Steve McQueen, Paula Prentiss,
Brigid Bazlen, Jim Hutton

©Magic Boy (75) An . 107

Feature-length cartoon
©The Secret of Monte

Cristo (80) © Ad. 121

Rory Calhoun, Patricia Bredin

©The Pit and the Pendulum

(85) Panavision Ho.. 609

Vincent Price, John Kerr,

Rarbara Steele, Luana Anders

©Ada (108) © D 124

Susan Hayward. Dean Martin.
Ralph Meeker

©Thief of Baghdad (90) © Ad. .123
Steve Reeves. Georgia Moll

Scream of Fear (81) D..605

Susan Strasberg. Ronald I<ewis

The Trunk (72) D. .606

Phil Carey, Julia Arnall

©A Thunder of Drums

(97) © 0D 201

Richard Boone, George Hamilton,
Luana Patten

Twenty Plus Two (102) . . My. . 6110
David Janssen. Jeanne Crain,

Dina Merrill. Agnes Moorebead

©The Devil at 4 0'Clock

(127) D .607

Spencer Tracy, Fiank Sinatra

©Loss of Innocence (99).. D . 608
K. More, D. Darrieux, 8. York

A Weekend With Lulu (91) . . C . . 609

Leslie Phillips. Itob’t Monkhouse

Bridge to the Sun (112) . D. .202

Carroll Baker, James Shigeta

Invasion Quartet (87) . . . . CD . 203
Bill Travers. Spike Milligan

©Guns of the Black Witch

(81) © Ad .610

Don Megowan, Silvana Pampanlni

Mr. Sardonicus (90) .... Ho. .611

Oscar Homolka. Guy Rolfe

Valley of the Dragons (79) Ad. .612

Sean McClory

Everything’s Ducky (81) . C..610

Mickey Rooney, Buddy Hackett

Queen of the Pirates

(SO) ® Ad. .604

Gianna Maria Canale. M. Serato

©Colossus of Rhodes

(128) © Ad. 204

Rory Calhoun. Lea Massari

©Bachelor in Paradise

(109) © C..205

Bob Hope, Lana Turner, Janis Paige,
Jim Hutton, Paula Prentiss

The George Raft Story

(105) D .6111

Ray Danton, Jayne Mansfield,
Julie London, Barrie Chase

©Journey to the Seventh

Planet (80) SF . .613

John Agar, Greta Tbyssen

Cash on Demand (84) ..Ac.. 615

Peter Cushing, Andre Morell

©Mysterious Island (101) Ad.. 613

(Super-Dynamation), anamorphlc
Michael Craig, Joan Greenwood.
Michael Callan, Gary Merrill

Sail a Crooked Ship (88) .. C. . 614
Robert Wagner, Dolores Hart,
Carolyn Jones, Ernie Kovacs
(pre-release)

©The Wonders of

Aladdin (93) © Ad.. 206

Donald O'Connor, Vittorio de Sica.
Noelle Adam

Too Hot to Handle ( . . ) D . .

Jayne Mansfield, Leo Genn

©Prisoner of the Iron Mask

(80) © Ad.. 701

Michael Lemoine, Warvdisa Guida

Twist Around the Clock

(83) V 616

Chubby Checker, Dion, the Marcels,
Vicki Spencer

©The Hellions (..) D..

Richard Todd, Anne Aubrey

©Light in the Piazza

(105) © M. .616

Olivia de Havilland, Rossano
Brazzi, George Hamilton, Yvette
Mimieux

PARAMOUNT

©AH in a Night’ s Work

(94) C. .6010

Shirley MacLaine. Dean Martin,
Hiff Robertson

©One-Eyed Jacks (141) 0D .6014
Marlon Brando. Karl Malden,
Katy Jurado, Pina I’ellicer

©Love in a Goldfish Bowl

(88) © C/M .6018

Tommy Sands. Fabian, Jan Sterling

JUNE-JULY-AUGUST
(©©The Pleasure of His

Company (114) CD.. 6017

Fred Astaire. Debbie Reynolds

©The Ladies Man (96) . C..6017

Jerry Lewis, Helen Traubel

Danny Kaye. Dana Wynter

©Blood and Roses (74) © D . .6101

Mel Ferrer, Annette Vadim,

Elsa Martinelli

Man-Trap (93) D..6102

Jeffrey Hunter, Stella Steven*,
David Janssen

©Breakfast at Tiffany's

(115) CD.. 6103

Audrey Hepburn, George Peppard

?>8lue Hawaii (101) © C/M.. 6105

Elvis Presley, Joan Blackman,

Angela Lansbury

The Errand Boy (92) . . . . C . .6105
Jerry Lewis, Brian Donievy

r~>

Hey, Let’s Twist! (SO) ..M..6108
Joey Dee and the Starliters,

Teddy Randazzo, Kay Armen

Too Late Blues (100) . ...D..6109

Bobby Darin, Stella Stevens

BOXOFFICE BookinGuide :: Jan. 1, 1962

JUNE JULY I AUGUST I SEPTEMBER I OCTOBER | NOV

FEATURE CHART

Th* key to letters and combinations thereof indicating story type: (Ad) Adventure Drama; (Ac) Action
Drama; (An) Animated-Action; (C) Comedy; (CD) Comedy-Drama; (Cr) Crime Drama; (DM) Drama
with Music; (Doc) Documentary; (D) Drama; (F) Fantasy; (FC) Farce-Comedy; (Ho) Horror Drama; (Hi)
Historical Drama; (M) Musical; (My) Mystery; (OD) Outdoor Drama; (SF) Science-Fiction; (W) Western

20TH-FOX | 51

UNITED ARTISTS I ii

UNIVERSAL-INT L | U

WARNER BROS. | i£

COMING

©All Hands on Deck

(98) © M 112

I’a! Boone. Barbara Eden.

Buddy Hackett
©Ferry to Hong Kong

(103) © Ad . 110

Orson Welles, Curt Jurgens.

Sylvia Syms
©The Fiercest Heart

(91) © 0D..120

Stuart Whitman. Juliet Prowse

©The Minotaur (92) © Ad 6115

Bob Mathias, Rosanna Schiaffino

©Tomboy and the Champ

(92) OD 6110

Candy Moore. Ben Johnson,
j Rex Allen

The Secret Ways (112) .. D..6109
Richard Widmark, 8onja Ziemann

©The Sins of Rachel Cade

(123) D..003

Angie Dickinson, Peter Finch,
Roger Moore

Portrait of a Mobster

(108) Ac.. Oil

Vic Morrow, Ray Danton

ALLIED ARTISTS

The Big Wave Ad..

Sessue Hayakawa

Billy Budd D

Peter Ustinov, Robert Ryan

©El Cid © D . .

Charlton Heston. Sophia Loren
©Day of the Triffids © ....SF..
Howard Keel, Nicole Maurey

H t er BiD . .

Richard Basehart, Maria Emo

AMERICAN-INT'l

Burn, W tch. Burn Ho. .

Janet R'air. Peter Cushing

Lost Battalion (83) Ac.. 611

Leopold Salcedo, Diane Jergens

COLUMBIA

©Barabbas ® o..

Anthony Quinn. Silvana Mangano,
Jack Palance. Ernest Borgnine

Walk on the Wild Side D..

Laurence Harvey, Capuclne,

Anne Baxter, Jane Fonda

13 West Street D

Alan Ladd, Rod Steiger

The Notorious Landlady C .

Jack Lemmon, Kim Novak,

Frpd Astaire

Advise and Consent 0

Charles Laughton, Henry Fonda,
Walter Pidgeon, Gene Tierney

©Best of Enemies CD..

David Niven, Alberto Sordi,
Michael Wilding

MGM

©Four Horsemen of the

Apocalypse © D

Glenn Ford, Ingrid Thulln,

Charles Boyer, Lee J. Cobb
©Mutiny on the Bounty

(Ultra Panavision-70) . . . .Ad. .
Marlon Brando, Trevor Howard,
Hugh Griffith. Tarita
0©King of Kings © ....Bib D..
Jeffrey Hunter, Siobhan McKenna

MAY I

©Return to Peyton Place

(122) © D .126

Carol Lynley, Eleanor Parker.

Jeff Chandler. Tuesday Weld
The Right Approach

(92) © D/M.. 127

Frankie Vaughan. Juliet Prowse,
Martha Hyer, Gary Crosby
©The Big Show (113) © Ad.. 123
Esther Williams. Cliff Robertson,
David Nelson

A Matter of Morals (90) . . 0 6108

Maj-Britt Nilsson. Patrick
O'Neal, Eva Dahlback
The Young Savages (103) .. D 6114
Burt Lancaster, Shelley Winters,
Dina Merriil
The Gambler Wore a

Gun (67) W 6109

Jim Davis. Merry Anders

Gun Fight (62) W. .6113

James Brown, Joan Staley

©Posse From Hell (89) W. . 6112
Audie Murphy, John Saxon.
Zohra Lampert
©The Pharaoh’s Woman

(88) © Ad. 6113

Linda Cristal, John Drew
Barrymore

©Ole Rex (40) Featurette. .6114
Rex (dog star), Billy Hughes,
William Foster

©The Steel Claw (96) Ac.. 012

George Montgomery. Charito Luna

JUNE 1

Battle at Bloody Beach

(SO) © Ac.. 128

A. Murphy. 0. Crosby. D. Michaels

©Wild in the Country

(114) © D/M .129

E. Presley, II. Lange, T. Weld

©Snow White and the Three

Stooges (107) © C..130

Carol IleLss. Stooges

Snake Woman (68) ... Ho.. 6112

John McCarthy. Susan Travers

©Dr. Blood's Coffin (92) Ho. . 6111
Kieron Moore, Hazel Court

©Revolt of the Slaves

(100) © Ad.. 6117

Rhonda Fleming, Lang Jeffries

©Romanoff and Juliet

(112) C .6106

P. Ustinov. 8. Dee, J. Gavin
©Curse of the Werewolf

(91) Ho.. 6115

Clifford Evans, Yvonne Romain
The Shadow of the

Cat (79) Ho.. 6116

Barbara Shelley, Andre Morell
©The Last Sunset (112) 0D..6117
Rock Hudson, Kirk Douglas,
Dorothy Malone, Joseph Cotten

The Fabulous World of

Jules Verne (81) Ad. 013

Ernest Revere. Louis Locke

©Bimho the Great (87) . .Ad. .014

Charles Holm, Mary Ann Shields

©Misty (92) © 0D..131

David Ladd, Arthur O'Connell

©Voyage to the Bottom of

the Sea (105) © ...Ad.. 133
Walter Pidgeon, Joan Fontaine,
Barbara Eden. Frankie Avalon

The Silent Call (63) D . .119

Roger Mobley, David McLean,

Gail Russell

©By Love Possessed (116)

Panavision D..6119

Lana Turner, Efrem Zimbalist jr.
The Last Time 1 Saw Archie

(98) C 6118

Robert Mitchum, Jack Webb
When the Clock Strikes

(72) My. 6116

James Brown, Merry Anders
The Naked Edge (102) My.. 6120
Gary Cooper. Deborah Kerr

Trouble in the Sky (76) . .Ac 6118
Michael Craig, Elizabeth Seal

SJ©Tammy Tell Me True

(97) CD. 6119

Sandra Dee, John Gavin

©Parrish (137) D..015

Troy Donahue, Claudette Colbert,
Karl Malden, Connie Stevens

©Fanny (133) D/M.. 016

Leslie Caron, Maurice Chevalier,
Charles Boyer, Horst Buchholz

1 isnonv

©Marines, Let's Go (104) © C. .137
David Hedison, Tom Tryon,

Linda Hutchins

©The Big Gamble (100) © D . .134

Stephen Boyd. Juliette Greco,
David Wayne

Goodbye Again (120) . D..6125

Ingrid Bergman, Yves Montand.
Anthony Perkins

The Cat Burglar (65) Ac .6121

Gregg Palmer, June Kenney

Teenage Millionaire (84)

(partly in color) ... .C/M . .6126
Jimmy Clanton, Zasu Pitts,

Rocky Grazlano

Blast of Silence (77) . D..6120
Allen Baron. Molly McCarthy

Doris Day, Stephen Boyd,

Jimmy Durante

©Two Weeks in Another Town
Kirk Douglas, Edw. G. Robinson,
Cyd Charlsse, Geo. Hamilton

PARAMOUNT

©Escape From Zahraln D..

Yul Brynner, Madlyn Rhtte
©Summer and Smoke

(118) © D .6107

Laurence Harvey, Geraldine Page

©Hatari! Ad

John Wayne. Red Buttons
Hell Is for Heroes (..) ..D..6111
Steve McQueen, Bobby Darin
Fess Parker, Bob Newhart

©My Geisha C. .

Shirley MacLaine, Yves Mimtand,
Rnb’t Cummings. Edw 0. Robtnsnn
©Siege of Syracuse (100) Ad.. 6110
Rossann Brazzi, Tina Louise

Brush Fire (..) D..6112

John Ireland, Jo Morrow,

Everett Sloane

20TH-FOX

©It Happened in Athens © ..Ad..

Jayne Mansfield, Nieo Minardos
©Tender Is the Night ©....D..
Jennifer Jones, Jason Robards jr.
Joan Fontaine, Jill St. John

The Innocents © D. .138

Deborah Kerr. Michael Redgrave
UNITED ARTISTS

©The Magic Sword

ftiisil K.Jthbnne. Estelle Winwood

Birdman of Alcatraz D..

Burt Lancaster, Karl Malden

The Children’s Hour D..

Audrey Hepburn, Shirley MacLaine,
James Garner

©Sergeants 3 (Panavision) .. OD . .
Frank Sinatra, Dean Martin

Phaedra D . .

Melina Mercouri, Tony Perkins

UNI VERS AL-INT'L

©Cape Fear D . .

Gregory Peck, Polly Bergen

The Outs : der D..

Tony Curtis, .las. Franciscus

©Lover Come Back C. .

Rock Hudson, Doris Day, Tony
Randall, Edie Adams
©The Spiral Road (Panav’n) .. D . .
Rock Hudson, Burl Ives,

Gena Rowlands

Freud BID..

Montgomery Clift, Susannah York,
Susan Kolrner

©Six Black Horses Ac..

Audie Murphy, Joan O’Brien

WARNER BROS.

©Merrill’s Marauders Ac..

Jeff Chandler, Ty Hardin

©The Music Man © M..

Robert Preston. Shiriev Jones
©A Majority of One (153) C .153
Rosalind Russell, Alec Guinness

©Lad, a Dog D

Peter Breck, Peggy McCay

SEPTEMBER |

©Francis of Assisi (105) © D..132
Bradford Dillman, Dolores Hart,
8tuart Whitman

©September Storm (90). Ad . 139
Joanne Dru, Mark Stevens
( 35mm release )

20.00 Eyes (61) © Cr..l24

G. Nelson, M. Anders, J. Brown

©Upstairs and Downstairs

(10O) C..125

Michael Craig, M. Demongeot

You Have to Run Fast

(71) Ac .6122

Craig H11L Elaine Edwards
Three on a Spree (83) . . .C. .6123
Jack Watllng, Carole Lesley
4>The Young Doctors (102) D. .6128
Fredrlc March, Ben Gazzara,
Ina Balln. Dick Clark
©Exodus (212)

Panav’n 70 D. .6129

P. Newman, E. M. Saint, S. Mineo

©Come September

(112) © C..6121

Rock Hudson, Gina Lollobriglda,
Sandra Dee. Bobby Darin

©World by Night

(103) Doc.. 151

A tour of world-famed night spots

Claudelle Inglish (99) . . D..155

Diane McBaln, Arthur Kennedy,
Will Hutchins, Constance Ford

—

H-

The Hustler (134) © . ...D..136
P. Newman, P. Laurie. J. Gleason

Seven Women From Hell

(88) © Ac. 140

Patricia Owens, Denise Darcel,
Cesar Komero, John Kerr

©Pirates of Tortuga

(97) © Ad.. 135

Ken Scott, Leticia Roman

The Flight That Disappeared

(72) SF. .6129

Boy Who Caught a

Crook (72) D..6127

Craig Hill. Paula Rnvmond
Town Without Pity (105) . . D . .6135
Kirk Douglas, Christine Kaufman
Secret of Deep Harbor

(70) Ac. 6130

Explosive Generation (90) D..6134
Season of Passion (92) . D..6133
A. Baxter, E. Borgntne, J. Mills

©Back Street (107) D..6201

Susan Hayward, John Gavin

©Splendor in the Grass

(124) D .154

Natalie Wood, Warren Beatty,

Pat Hingle, Audrey Christie

NOVEMBER |

©The Comancheros (107)

John Wayne, Stuart Whitman

©The Purple Hills (60) © Ac.. 142
Gene Nelson, Joanna Barnes,

Kent Taylor

Paris Blues (98) D..6131

Paul Newman. Joanne Woodward

©X-15 (112) © D. .6137

Charles Bronson. Brad Dexter

Dead to the World (89) Ac. .6202
Rudy Talton, Jana Pearce

Gun Street (67) W. .6136

James Brown, Jean Wllles

The Sergeant Was a

Lady (72) C. .6202

Marlin West, Venetia Stevenson,
Bill Williams

©Susan Slade (116) D..157

Troy Donahue. Connie Stevens.
Dorothy McGuire, Lloyd Nolan

The Mask (S3) D..156

Depth-Dimension

Paul Stevens, Claudette Nevins

j DECEMBER

©The Two Little Bears

(81) © F/M..143

Brenda Lee, Eddie .Albert,

Jane Wyatt, Jimmy Boyd

©The Second Time Around

(99) © C. .144

Debbie Reynolds, Steve Forrest,
Andy Griffith, Thelma Ritter,

Juliet Prowse, Ken Scott

©Pocketful of Miracles

(137) CD.. 6204

G. Ford, B. Davis, H. Lange
Judgment at Nuremberg

(189) D. 6206

S. Tracy, B. Lancaster, R. Widmark,
M. Dietrich, M. Clift. J. Garland
( pre-release)

One, Two, Three (115) © C..6208
James Cagney, Horst Buchholz,
Arlene Francis. Pamela Tiffin

©Flower Drum Song

(133) © M .6203

Nancy Kuan, James Shlgeta,
Mtyoshi Umekl
(pre-release)

©The Roman Spring of

Mrs. Stone (103) D. .159

Vivien I^igh, Warren Beetty

JANUARY

©Bachelor Flat (91) ©..C..201
Terry-Thomas, Tuesday Weld,
Richard Beymtr, Celeste Holm

Madison Avenue (94) © . D..202
Dana Andrews, Eleanor Parker,
Eddie Albert, Jeanne Crain

Mary Had a Little (79) . C. .6203

Agnes Laurent, John Bentley,
Hazel, Jack Watllng

Something Wild (112) .. . D.. 6210
Carroll Baker. Ralph Meeker

©The Singer Not the Song

(129) © D .152

Dirk Bogarde, John Mills.

Mylene Demongeot

BOXOFFICE BookinGuide :: Jan. 1, 1962

Opinions on Current Productions

Feature reviews

Symbol © denotes color; © CinemoScope; ® Vista Vision; <D Superscope; ® Ponovision; ® Regalscope; ® Techniramo. For story synopsis on eoeh picture, see reverse side.

Twist Around the Clock F Musical

Columbia (616) 86 Minutes Rel. Jan. '62

The astute and timely showmanship of producer Sam Katz- e
iscoiy man, evidenced a few years back when he capitalized on
the rock 'n' roll rage to turn out the highly successful "Rock
Around the Clock," again leaps to the fore with this made-
overnight exploitation offering built around the current
Twist craze. It's right up to the minute in every detail, from
the appearance of Mr. Twist, himself, in the person of
Chubby Checker, and other entertainers of Twistdom (Dion,
Vicki Spencer, Clay Cole, the Marcels) to topline the goings-
on, to employing fresh young talent in supporting roles, plus
a barrage of new Twist tunes, at least a few of which are
sure to catch on with the public. As Chubby opines in the
film, "The Twist Is for Everybody! " This conceivably could
be regarded as the overstatement of the year by some, but
there's little doubt that the feature will be for enough ticket-
buyers to assure its successful run in most situations — par-
ticularly those catering to youthful moviegoers. The story
by James B. Gordon is adequate, with enough suspense and
romance to temper the otherwise almost constant riotous
blast of music and dancing. Oscar Rudolph directed this
Four Leaf Clover Production.

Chubby Checker, Dion, Vicki Spencer, the Marcels, Clay
Cole, John Cronin, Mary Mitchell, Maura McGiveney.

No Love for Johnnie A Si T

Embassy Pictures 110 Minutes Rel. Jan. '62

A fine British-made drama, composed of equal amounts of
sex and politics, this Betty E. Box production is adult fare
best suited to art house showings. However, Peter Finch, who
received the "best actor" award for his portrayal at the Ber-
lin Film Festival, has name value for general audiences in
key cities. The detailed operations of the Houses of Parlia-
ment and the British elections will have little interest in
neighborhoods or small towns. The screenplay by Nicholas
Phipps and Mordecai Rickler, based on the novel by Wilfred
Fienburgh, pictures Finch as a cold, handsome and ambi-
tious Labour representative who neglects his small town
constituents, yet the actor manages to create great sympathy
for the character because of Johnnie's muddled and unhappy
romantic life. Mary Peach, England's most beautiful and
talented newcomer, is tremendously persuasive as the young
girl he loves; Billie Whitelaw is excellent as the upstairs
neighbor who loves him and Rosalie Crutchley is effective as
the selfish wife who leaves him — three outstanding por-
trayals. Finch’s bedroom scenes with Miss Peach have much
of the stark power of those in “Room at the Top." Comic
Stanley Holloway of "My Fair Lady" fame, plays a serious
role, Dennis Price adds some humor. Ralph Thomas directed

Peter Finch, Mary Peach, Stanley Holloway, Billie White-

law, Donald Pleasance, Rosalie Crutchley, Geoffrey Keen.

Sail a Crooked Ship F ££ c ”'"

Columbia (614) 88 Minutes Rel. Dec. '61

There is hardly a serious moment in this screwball comedy.

If your audience likes slap-happy humor, this one is dished
out in heavy doses. While some of the sequences are
repetitious, the overall chain of events is sufficient to keep
up a steady flow of laughter, as was in evidence at a sneak
preview presentation. The crooked ship in the title is a
freighter taken out of the mothball fleet and used to serve as
a getaway by a band of crooks who plans to hold up a Boston
bank. Ernie Kovacs is the big boss of the gang and neither j
he nor his men know anything about navigation and so much
- of the fun is centered on their blundering seamanship. Robert

Wagner and Dolores Hart provide the romance, being the
unwilling "guests" of the gang on the ship. Singer Frankie
Avalon warbles one song, otherwise playing a straight role
as Kovacs' nephew. Carolyn Jones is cute and sometimes
sexy as Kovacs' girl friend, while Frank Gorshin is excellent
as one of the gang leaders. The story was based on a novel
by Nathaniel Benchley, son of the famous Robert. It was
produced by Philip Barry and directed by Irving Brecher
from a screenplay by Ruth Brooks Flippen and Bruce Geller.

Robert Wagner, Dolores Hart, Carolyn Jones, Ernie
Kovacs, Frank Gorshin, Frankie Avalon, Jesse White.

Something Wild A

United Artists (6210) 112 Minutes Rel. Jan. '62

The psychological impact on a young girl who is dragged
into bushes and raped while returning home at night from
choir practice is the basis of this sombre and often depressing
picture. And yet, because of the attention to minute detail,
the film holds interest; in fact, the viewer becomes fascinated
by the girl's predicament and wonders how such a story
could possibly have a happy ending. It does, but the series
of events leading up to it is filled with moments of terror and
sadness. Carroll Baker gives a superb performance as the
victim, possibly of Academy Award calibre, while Ralph
Meeker is excellent as the man who gives her new hope. The
boxoffice potentials will rest on its promotion which should be
directed to selective audiences. Jack Garfein did a master-
ful job of direction, ably penetrating the horror-stricken mind
of the girl and bringing out the emotional turbulence w'hich
results from her experience. The picture was made entirely
in New York and was produced by George Justin for
Prometheus Enterprises. The screenplav was written by Gar-
fein and Alex Karmel and based on the latter's novel, "Mary
Ann." Excellent background music was composed and con-
ducted by Aaron Copland.

Carroll Baker, Ralph Meeker, Mildred Dunnock, Charles
Watts, Jean Stapleton, Martin Koslek, Ken Chapin.

Karate A ^ Adventure Drama

Joseph Brenner 80 Minutes Rel.

Karate, Japan's spectacular art of handmade mayhem and
considered as lethal a form of hand-to-hand fighting as man
knows, is the dominant action-conveyer here, conveying
tremendous dramatic impact. All karate scenes — from the
violent opening (in which a blind man is murdered) through
the smashing climactic battle of karate giants over a fortune
in Nazi loot in Japan — were filmed under auspices of Japan's
karate association. This lends a feeling of authenticity
probably unattainable amid other circumstances. The
principal player, Joel Holt, tripled as producer and director,
working from a story and screenplay by David Hill and all
hands concerned, including the romantic lead, lovely Reiko
Okada, serve up some intriguing moments best recommended
for adults and mature young people viewing. It must be
stressed, too, that many of the top TV neiwo.k programs,
including Jack Paar and Ed Sullivan, plus communications
media (Look Magazine, et al), have concentrated heavily on
the intricate workings of karate. This can be sold as an
adventure story, with good boxoffice possibilities, once the
necessary wcrd-of-mouth gets about town. The subject mat-
49 ter lends itself to sizable exploitation effort.

Joel Holt, Frank Blaine, Akira Shiga, Joe Hirakawa,
Reiko Okada, Ken Noyle.

r | A Ratio: Adventure Drama

Pagan Island A ^

Cinema Syndicate 60 Minutes Rel.

Pure escapist adventure— produced, directed and enacted
more for amiable entertainment than dramatic impact — this
contains underwater sequences filmed at the world-famous
Seaquarium in Miami, and is peopled by some of the most
lissome lovelies ever to grace the settings of an idyllic re-
mote South Seas paradise. While short on logic and
decidedly long on fetching poses of varied and sundry
damsels, it can be sold to the adventure crowd as w^Jl as to
the audiences that seem to clamor for the unusual. The
premise of a manless island ruled by a queen bee has been
adapted to film purposes, with varying degrees of effective-
ness, over the years, of course, and the fact that none of
the girls cavorting in front of producer-director Barry Mahon's
cameras are known marquee qualities means the novelty
angle must be given top priority in any and all exploitation
efforts. Edward Dew serves up some brisk-paced moments
as a shipwrecked young sailor who encounters his true love
just as she's about to be sacrificed to a mythical sea god,
but the applause meter will be more attuned to costar Nani
Maka, a "looker" if there ever was one. Barry Mahon's
direction has wisely concentrated on the feminine form, and,
it might be noted, that an exploitation aid is a package of
ten color slides by Bunny Yeager, who's clicked lenses for
Playboy and other national magazines.

The reviews on these pages may be filed for future reference in any of the following woys: (1) in any standard three-nng
loose-leaf binder; (2) individually, by company, in any standard 3x5 card index file; or (3) in the BOXOFFICE PICTURE
GUIDE three-ring, pocket-size binder. The latter. Including a year's supply of booking and daily business record sheets,
may be obtained from Associated Publications, 823 Von Brunt Blvd., Kansas City 24, Mo., for $1.00, postage paid.

2592 BOXOFFICE BookinGuide :: Jan. 1, 1962 2591

FEATURE REVIEWS Story Synopsis; Exploits; Adlines for Newspapers and Programs

THE STORY: "No Love for Johnnie" (Embassy)

Peter Finch, 42-year-old Labour Party member, is re-elected
to Parliament from a working class district, but he is passed
by when Cabinet posts are given out. When his unfeeling
wife leaves him, Billie Whitelaw, his upstairs neighbor,
offers him love. At a party, Finch is immediately attracted to
Mary Peach, a young model, and, after several meetings,
they fall in love. Meanwhile, Finch has been persuaded by
several party members to take part in a move to discredit
the government but, when Mary returns to her home town,
he follows and fails to appear at an important House of
Parliament meeting. Mary finally breaks off the affair, his
fellow-members are against him and even Billie refuses to
resume their friendly relationship. The lonely and unhappy
Finch is surprised by his wife's offer to return to him, but
when the Prime Minister finally offers him a Cabinet post on
condition that he renounce his Communist-inclined wife, he
accepts. Although Finch is neglected romantically, his
political career is set.

EXPLOITERS:

Play up Peter Finch, who was costarred in "The Nun's
Story" and "The Sins of Rachel Cade" for Warner Bros., and
mention that his portrayal of "Johnnie" won the "best actor"
award at the Berlin Film Festival.

CATCHLINES:

There Was No Love for Johnnie When Ambition Won Out
Over Romance.

THE STORY: "Twist Around the Clock" (Col)

Johnny Cronin, ex-manager of a has-been rock 'n' roll band,
discovers a group of young people doing a new dance, the
le Twist, in a small mountain town. He books them into New , —
York where they are an immediate hit, but are kept from ^
getting further bookings by a top agent whose daughter is
in love with Johnny who spurns her advances. The agent
finally has to give in to the new Twist craze which suddenly
sweeps the country, but signs Johnny's group on the condi-
tion that Johnny and his star performer, Mary Mitchell, will
not marry for three years. They agree to the terms. Mean-
while, Johnny and the agent plan a nationwide jamboree
featuring the Twist. It's a howling success, and during the
show Mary thanks "her husband" for his help. It's then re-
vealed that they were married before signing the contract,
and all ends happily with the agent's daughter deciding to
pursue some other male.

EXPLOITIPS:

Exploitation should center around Chubby Checker, the
Twist King and the other well-known entertainers in this
field. Ask disc jockeys and music stores to cooperate on
tunes from the show with theatre plugs. Play the music
through loud speakers for street attraction. Hold Twist dance
contests.

CATCHLINES:

Everybody's Twistin' With Chubby Checker in This Twistin'
Tornado! . . . See the King of Twist Himself.

THE STORY: "Something Wild" (UA)

On her way home from choir practice, Carroll Baker is
attacked and raped. She drags herself home and tries to
erase all evidence because she is afraid to tell her mother
and stepfather. The experience has its emotional impact and
she runs away from home and takes a shabby room on the
lower east side where she gets a job in a five and ten cent
store. Still haunted by her ordeal, she is dragged away from
a bridge rail in an apparent suicide attempt by Ralph
Meeker, a garage mechanic, who takes her to his basement
flat. She does not tell him the reason for her act. It is ap-
parent that he is as lonesome as she is. He keeps her a
prisoner and his nightly drunken escapades keep the girl
in terror. But he does not molest her and tries to convince her ■
he loves her. When he does let her go, she leaves for only
a brief time and comes back to him, realizing that she loves
him, too. Ultimately, her mother comes to the flat and after
the first shock of her daughter's environment, there is a
reconciliation by all.

EXPLOITIPS:

A special screening for psychiatrists might result in press
comments on mental injuries from such an experience which
the girl had. Solicit the interest of social welfare groups.

CATCHLINES:

Such Stark Realism Has Never Been Seen on the Screen
Before . . . She Was Afraid to Tell Her Parents What Hap-
pened . . Physically Ravished, Her Entire Life Was Changed.

THE STORY: "Sadi a Crooked Ship" (Col)

Robert Wagner inadvertently disposes of a mothball
freighter to Ernie Kovacs, a blundering gang leader, who has
a plan to use the ship as a getaway after a Boston bank
holdup. Wagner and Dolores Hart are shanghaied on the trip
from New York to Boston. Nobody knows how to run the ship
and it has a number of near accidents en route. The Boston
bank, to be the victim, is celebrating its Founders' Day and
the staff and local citizens are dressed in Pilgrim costumes.
This makes it necessary for the gang to do likewise. They
stumble through the holdup, return to the ship where Gorshin
has decided to take command and keep Kovacs, Wagner and
the girls as prisoners. But a Coast Guard cutter is attracted
and the gang is rounded up. Ci

EXPLOITIPS:

Stress the wild antics and broad comedy of the picture.
Dress ushers in sailor suits or arrange for them to wear sailor
hats or caps, with suitable selling copy. If a local pet shop
has monkeys, arrange for window display with sign reading:
"These Monkeys Are Not as Crazy as the Crew of the Crooked
Ship." Nautical equipment in the lobby should attract.
CATCHLINES:

A Thousand Laughs in 88 Minutes of Fun . . . Shanghaied
Lovers on a Ship Manned by Stumble-Bums . . . Sail With a
Crew That Doesn't Know a Compass From a Thermometer . . .
There's a Message in This Picture: Laughter Is the Best
Medicine . . . The Funniest Picture Since Pictures Were Bom.

THE STORY: "Pagan Island" (Cinema Syndicate)

A South Seas schooner comes across a life raft
containing Edward Dew and the body of young and beauti-
ful Nani Maka. Dew relates an almost unbelievable story
of what happened after his ship exploded. This is his story:

He lands on an island, seemingly populated by females and
no males. During a feast in his honor, he's overpowered,
stripped of his knife and gun and bound to a crude cross to
die. The island queen tells him that he is to die because
pirates destroyed the temple of the sea god where they
buried a treasure many years ago. Nani Maka, destined as
underwater sacrifice for the sea god, falls in love with Dew,
freeing him so that he can aid the girls, who are being
attacked by tribesmen from a distant island. He's given his
life for the brave deed, but is cautioned that Nani is already
promised to the sea god. He joins her beneath the waves,
both swimming to an underwater cave containing the
treasure As they emerge into the water again, a giant clam
crushes Nani. Dew Diaces the body on the raft and leaves
the island forever. Nani's body is committed to the ocean,
consummating her marriage to the sea god
EXPLOITIPS:

Photo Lab, Inc., 3825 George Ave., NW. Washington 11, (
D.C., has some slides appropriate for a lighted lobby display. V—

CATCHLINES:

One Man Alone . . With 30 Beautiful Native Girlsl . . .
Shipwrecked — on an Amazing Island Paradise!

THE STORY: "Karate" (Joseph Brenner)

The brutal slaying of a blind man by an unidentified
exponent of the Japanese art of karate sets off a chain of
violence and intrigue. Joel Holt is discovered to be in Japan
and in possession of a mysterious coin known to have been
carried by the murdered man. Trying to learn the coin's
significance, Holt is followed from a coin shop to his hotel
by Frank Blaine, 6-ft, 8-inch former secretary to the murdered
man. Blaine offers to buy the coin, but Holt refuses. En
route to an appointment at the home of his late sweetheart,

Holt is set upon by thugs and beaten when he's unable to
bring himself to use his hands in battle. Later, Holt learns
that the mysterious coin is the key to the location of over a
million dollars worth of platinum, stolen by the murdered
man (a former Nazi official) from a German research project
and smuggled into Japan. Holt eventually does battle,
karate-style, with his late sweetheart's brother, now un-
masked as the guiding power behind the fantastic smuggling
operation. The brother is killed and Holt leaves the country,
knowing someday he will return to woo his late sweet-
heart's vounger sister.

EXPLOITIPS:

Tie in with your local bookstores (numerous books have fi
been published on the art of karate).

CATCHLINES:

Men Feared the Death in His Hands . . . Women Lived for
Their Embrace! ... A New Powerful Dimension in Terror!

BOXOFFICE BookinGuide :: Jan. 1, 1962

■QT TTC QTTXJ X/TPr Listed herewith, alphabetically by companies, are all ol the feature pictures
UwU MmXI Y lull reviewed in BOXOFFICE from January 1 through December 31. 1961. This is
designed as a further convenience for Picture Guide users, the page numbers being the key to reviews kept
therein. Between quarters. Review Digest pages serve as a cumulative P. G. index for feature pictures.

P.G.

Page

P.G.

Page

(Excelsior)

.2530

Sins of Mona Kent, The

Prisoners of the Congo

(Astor)

.2547 h

.2508

Sins of Youth (Janus)

2504 o

Pure Hell of St. Trinian's,

Sun Lovers Holiday (Astor) 2558

The (Cont'l)

.2570

Teacher and the Miracle,

Purple Noon (Times)

.2580

The (President)

.2515

Question 7 (de Rochemont) 2516

Three Blondes in His Life

Rebellion in Cuba (IFD) ....

.2551

(Cinema Assoc)

.2534

Red Cloak, The (Sefo-SR)

.2571

Truth, The (Kingsley)

.2548

Respectful Prostitute, The

Tunes of Glory (Lopert) ....

.2493

(Times)

.2564

Two-Way Stretch

Risk, The (Kingsley)

.2568

(Showcorp)

.2501

Rocket Attack, U.S.A.

Two Women (Embassy)

.2565

(Brenner)

.2511

Unstoppable Man, The

Rommel's Treasure

(Sutton)

.2553

(Medallion)

.2557

Watch Your Stern (Magna)

2515

Ruffians, The (Ellis)

.2564

Wild for Kicks (Times) ....

.2584

Sand Castle, The

Wild Harvest (Sutton)

.2581

(de Rochemont)

.2558

Wild Youth (Cinema Assoc) 2565

Saturday Night and Sunday

Young Love (Exclusive)

.2518

Morning (Cont'l)

.2515

Young One, The (Vitalite)

.2497

Shadows (Lion Int'l)

.2516

:nov,

'her'

QUARTERLY

INDEX

PICTURE GUIDE REVIEWS

First, Second, Third * ■, January

and Fourth Quarters J-^01 Through December

ante,

disij

Foreign-Lan g u age

Date Reviewed

Antigone (Norma)

Greek Sep 25

Ashes and Diamonds (Janus)

Polish Sep 4

Attanasio (Casolaro-Giglio)

Italian Jul 24

Ballad of a Soldier (Kingsley)

Russian Jan 30

Beau Serge (UMPO)

French Sep 25

Big Deal (on Madonna St.)

Italian Jan 30

Breathless (F-A-W)

French Mar 6

Bridge, The (AA)

German May 22

Cheaters, The (Cont'l)

French Jul 10

Colt, The (Artkino)

Russian Aug 7

Cow and I, The (Zenith)

French Jul 31

Crime of M. Lange (Brandon)

French Nov 13

Devil's Eye, The (Janus)

Swedish Dec 18

Eve Wants to Sleep (Harrison)

Polish Oct 9

Fate of a Man (UA)

Russian Aug 28

Fidelio (Brandon)

German Jun 26

Frantic (Times) French ..Aug 28

From a Roman Balcony (Cont'l)

Italian Nov 27

General della Ravere (Cont'l)

Italian Jan 9

Girl of the Moors, The (Casino)

German Sep 4

Girl With a Suitcase (Ellis)

Date Reviewed

French Feb 13

Macario (Azteca)

Spanish * Apr 3

Man Who Wagged His Tail,

The (Cont'l) Spanish ....Oct 9

Modigliani of Montparnasse

(Cont'l) French Mar 6

Moussitsa (GMP) Greek Jun 5

Mumu (Artkino) Russian ..Jul 31
Naked in the Night (Gotham)

German Jul 31

Neopolitan Carousel (Lux-

Jacon) Italian Aug 7

Rice (SR) Japanese Sep 18

Rikisha Man, The (Cory)

Japanese May

Road to Eternity (Beverly)

Japanese Feb 27

Rocco and His Brothers (Astor)

Italian Jul 17

Roses for the Prosecutor (SR)

German Nov 13

Rules of the Game (Janus)

French Apr 17

Scampolo (Baker)

German Jul 10

Secrets of Women (Janus)

Swedish Sep 18

Spessart Inn, The (Casino)

German Mar 27

Stefanie (Bakros)

German Jun 19

Summer to Remember, A

(Kingsley) Russian Dec 18

Taiga (Bakros) German ...Jul 17

They Were Ten (Schwartz-

Sachson) Hebrew Jul 3

Toma! (Casolaro-Giglio)

Italian Jun 26

288 Stournara St. (Atlantic)

Allied Artists

P.G. Page

Angel Baby 2524

Armored Command 2549

Brainwashed 2543

David and Goliath 2528

Dondi 2499

El Cid 2588

George Raft Story, The 2585

P.G. Page

King of the Roaring 20's 2540

Look in Any Window 2513

Operation Eichmann 2509

Serengeti (Shall Not Die) .. .2522

Time Bomb 2542

Unfaithfuls, The 2492

'PCC

American International

Alakazam the Great

2546

Master of the World

2525

Beware of Children ..

2531

Operation Camel

2554

Black Sunday

2504

Pit and the Pendulum,

Hand, The

2515

The

2552

House of Fright

Kongo

2530

2507

Portrait of a Sinner

2522

Buena

Vista

Absent-Minded Professor,

the North

2536

The

2506

One Hundred and One

Babes in Toyland

2586

Dalmatians

2497

Greyfriars Bobby

2556

Parent Trap, The

2523

Nikki, Wild Dog of

Columbia

Italian

...Oct 16

Greek

.Feb

Grouch, The (GMP)

Two Women (Embassy)

Carthage in Flames

...2495

Passport to China

...2509

Greek

...Jul 31

Italian

.Jun

Cry for Happy

...2494

Pepe

...2492

Joker, The (Lopert)

Unknown Woman (GMP)

Devil at 4 O'Clock, The .

...2564

Queen of the Pirates

...2561

French

..Oct 2

Greek

Jul

Everything's Ducky

....2577

Raisin in the Sun, A

...2516

Kanal (Kingsley) Polish

..Nov 6

Unmarried Mothers (President)

Five Golden Hours

...2531

Scream cf Fear

...2551

La Dolce Vita (Astor)

Swedish

Mar

Gidget Goes Hawaiian

...2533

Stop Me Before 1 Kill

...2536

Italian

...Apr 24

Utamaro (Harrison)

1 1

Guns of Navarone, The ...

...2533

Sword of Sherwood Forest

...2494

L'Avventura (Janus)

Japanese

Oct

2 1

Homicidal

...2539

Terror of the Tongs, The

...2514

Italian

Violent Summer (F-A-W)

Loss of Innocence

...2549

Trunk, The

...2586

Italian

..Jul

Mad Dog Coll

...2524

Two Rode Together

.2538

Lisa, Tosca of Athens (Hellenic)

White Nights (UMPO)

Mein Kampf

....2518

Underworld, U.S.A

...2505

Greek

...Jul 31

Italian

Jul

Most Dangerous Man

Valley of the Dragons

...2581

Love and the Frenchwoman

Wild Love (Ellis)

Alive

...2538

Warrior Empress, The

...2527

(Kingsley) French

...Apr 3

Italian

May

Mr. Sardonicus

...2569

Weekend With Lulu, A ....

...2586

Love Game, The (F-A-W)

Mysterious Island

...2587

Metro-Goldwyn-Mayer

P.G.

Page

P.G.

Page

Ada

.2550

Invasion Quartet

.2556

Atlantis, the Lost

King of Kings

.2571

Continent

..2518

Magic Boy

.2552

Bachelor in Paradise

.2576

Morgan the Pirate

.2535

Bridge to the Sun

..2554

Ring of Fire

.2519

Colossus of Rhodes, The ....

.2589

Secret of Monte Cristo

.2550

Don Quixote

..2508

Secret Partner, The

.2511

Go Naked in the World ....

..2495

Thief of Baghdad

.2543

Gorgo

.2498

Thunder of Drums, A

.2557

Green Helmet, The

.2540

Two Loves

.2525

Honeymoon Machine,

Wonders of Aladdin, The ..

.2576

The

.2546

Paramount

All in a Night's Work

2514

Ladies Man, The

.2533

Blood and Roses

2560

Love in a Goldfish Bowl ....

.2534

Blue Hawaii

2582

Man-Trap

.2562

Blueprint for Robbery .

...2496

On the Double

.2527

Breakfast at Tiffany's

2568

One-Eyed Jacks

.2514

Errand Boy, The

2585

Pleasure of His Company,

Foxhole in Cairo

2498

The

..2519

Hey, Let's Twist!

2590

Summer and Smoke

.2584

Universal-International

P.G.

Page

P.G.

Page

Back Street

.2570

Romanoff and Juliet

.2524

Blast of Silence

.2516

Secret Ways, The

.2513

Come September

.2544

Sergeant Was a Lady,

Curse of the Werewolf

.2521

The

.2561

Flower Drum Song

.2580

Shadow of the Cat, The

.2521

Last Sunset, The

.2532

Steel Claw, The

.2525

Lover Come Back

.2590

Tammy Tell Me True

.2539

Outsider, The

.2589

Tomboy and the Champ

.2498

Pharaohs' Woman, The

.2520

Trouble in the Sky

.2541

Posse From Hell

.2511

Wings of Chance

.2508

Warner Bros.

Bimbo the Great

...2520

Parrish

...2510

Claudelle Inglish

...2558

Portrait of a Mobster

...2515

Fabulous World of Jules

Roman Spring of Mrs.

Verne, The

...2520

Stone, The

...2584

Fanny

...2542

Sins of Rachel Cade, The .

...2505

Fever in the Blood, A

...2496

Splendor in the Grass

...2560

Gold of the Seven Saints ...

...2500

Susan Slade

...2568

Majority of One, A

...2580

White Warrior, The

...2500

Mask, The

...2576

World by Night

...2553

20th Century-Fox

Misc. and English-Dubbed

All Hands on Deck 2516

Bachelor Flat 2583

Battle at Bloody Beach 2545

Big Gamble, The 2556

Big Show, The 2528

Canadians, The 2512

Circle of Deception 2497

Comancheros, The 2575

Days of Thrills and

Laughter 2512

Desert Attack 2491

Ferry to Hong Kong 2526

Fiercest Heart, The 2516

Francis of Assisi 2548

Goddess of Love 2491

Hustler, The 2565

Innocents, The 2587

Little Shepherd of Kingdom

Come, The 2537

Long Rope, The 2502

Marines, Let's Go 2554

Millionairess, The 2502

United

Boy Who Caught

a Crook 2566

By Love Possessed 2534

Cat Burglar, The 2551

Children's Hour, The 2588

Doctor Blood's Coffin 2527

Explosive Generation, The .. .2562

Five Guns to Tombstone 2507

Flight That Disappeared,

The 2563

Frontier Uprising 2507

Gambler Wore a Gun,

The 2523

Goodbye Again 2544

Gun Fight 2529

Gun Street 2587

Hoodlum Priest, The 2506

Judgment at Nuremberg 2574

Last Time I Saw Archie,

The 2529

Mary Had a Little 2546

Matter of Morals, A 2532

Misty 2537

Pirates of Tortuga 2567

Purple Hills, The 2573

Return to Peyton Place 2522

Right Approach, The 2526

Sanctuary 2506

Second Time Around,

The 2575

7 Women From Hell 2570

Silent Cal!, The 2539

Sniper's Ridge 2502

Snow White and the

Three Stooges 2530

Tess of the Storm

Country 2493

Trapp Family, The 2510

20,000 Eyes 2544

Two Little Bears, The 2589

Upstairs and Downstairs 2545

Voyage to the Bottom

of the Sea 2540

Wild in the Country 2537

Artists

Minotaur, The 2523

Misfits, The 2500

Naked Edge, The 2543

One, Two, Three 2583

Operation Bottleneck 2510

Paris Blues 2566

Pocketful of Miracles 2578

Police Dog Story 2501

Revolt of the Slaves 2529

Season of Passion 2569

Secret of Deep Harbor 2567

Snake Woman, The 2528

Teenage Millionaire 2555

Three on a Spree 2559

Town Without Pity 2572

West Side Story 2567

When the Clock Strikes 2532

X- 1 5 2579

You Have to Run Fost 2547

Young Doctors, The 2555

Young Savages, The 2517

After Mein Kampf

(Brenner) 2552

Amazing Mr. Callaghan, The

(Atlantis) 2509

Anatomist, The

(Gordon-SR) 2574

Anatomy of a Psycho (SR) ..2562

Anna's Sin (Atlantis) 2548

Another Sky (Harrison) 2496

Atlantic Adventure

(Schoenfeld) 2578

Badjao (Parallel) 2569

Behind the Mask

(Showcorp) 2517

Bernadette of Lourdes

(Janus) 2517

Beyond All Limits (Omat) ....2526
Black Pit of Dr. M

(UPRO) 2566

Bloodlust (Crown) 2579

Call Me Genius (Cont'l) ....2578
Capture That Capsule!

(SR) 2583

Carry On, Constable

(Governor) 2494

Code of Silence

(Sterling World) 2491

Cold Wind in August, A

(Aidart) 2550

Continental Twist, The

(SR) 2590

Creature From the Haunted

Sea (Filmgroup) 2549

Cry Freedom (Parallel) 2521

Day the Sky Exploded

(Excelsior) 2559

Dead One, The

(Mardi Gras) 2515

Deadly Companions, The

(Pathe-America) 2535

Dentist in the Chair (Ajay) 2547
Desert Warrior (Medallion) 2582
Devil's Commandment, The

(RCIP) 2503

Devil's Hand, The (Crown) 2573
Double Bunk (Showcorp) ....2588
Fast Set, The (Audubon) ....2557

Fear No More (Sutton) 2577

Flight of the Lost Balloon

(Woolner) 2575

Follow a Star

(Rank-Zenith) 2538

Force of Impu'se (Sutton) ....2577
French Mistress, A (F-A-W) 2495
Get Outta' Town

(Sterling World) 2531

Gina (Omat) 2579

Girl Fever (SR) 2571

Girl in Room 13, The

(Astor) 2542

Girls on the Run (Astor) ....2563
Great War, The (Lopert) ....2560

Head, The (Trans-Lux) 2572

Heat of the Summer (Ajay) 2572

Hippodrome (Cont'l) 2513

Hitler's Executioners

(Vitalite) 2535

Home Is the Hero

(Showcorp) 2499

It Takes a Thief (Vitalite) 2503
King in Shadow (Exclusive) 2536

Kitchen, The (Kingsley) 2582

Last Rebel, The

(Sterling World) 2561

League of Gentlemen, The

(Kingsley) 2505

Lisette (Medallion) 2563

Little Angel

(K. Gordon Murray) 2493

Mailbag Robbery (Tudor) ....2512
Make Mine Mink (Cont'l) ....2492
Man in the Moon

(Trans-Lux) 2541

Mania (Vitalite) 2501

Mark, The (Cont'l) 2573

Mark of the Devil (RCIP) ... 2503
Mighty Crusaders, The

(Falcon-SR) 2504

More Deadly Than the Male

(Schoenfeld) 2499

Naked Road, The (SR) 2545

Naked Terror (Brenner) 2581

Nature Girl and the Slaver

(UPRO) 2519

Never Take Candy From a

Stranger (Omat) 2553

Ninth Bullet, The

(Audubon) 2574

One Plus One (Se’ected) ... 2555
Pirate and the Slave Girl,

The (Crest) 2559

Primitive Paradise

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HELP WANTED

REPRESENTATIVE WANTED. If you can

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door advertising in conjunction with The-
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An opportunity to build for the future. For
details contact: Romar-Vide Co., Chetek,
Wisconsin.

Drive-in and walk-in theatre managers
wanted in Southern California. Exceptional
employment opportunities with a large cir-
cuit which offers pleasant working con-
ditions and liberal medical, hospitaliza-
tion and life insurance coverage, plus an
excellent retirement plan. Write Jim Barka,
Pacific Drive-In Theatres Corp., 141 South
Robertson Boulevard, Los Angeles 48,
California. All replies will be treated in
strict confidence.

Continued expansion has created open-
ings for experienced indoor and d-rive-in
managers. Top salaries and liberal bene-
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Drive-In Corporation, 480 Boylston Street,
Boston 16, Massachusetts.

Hel- wanted, manager. Large midwest
city theatre. Overall experience required.
Good chance for advancement. State
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POSITIONS WANTED

Lost Lease . . . Will Travel. Manager,
operator, experience all phases of theatre
operation and maintenance. Young, ag-
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PERSONALS

Gentlemen would like to correspond with
lady. Boxoffice, 9397.

EQUIPMENT WANTED

Wanted: Pair of Westrex, Simplex or
Century penthouse 4-track magnetic
soundheads, also 3 Altec Lansing stage
speakers. WayZata Theatre, Wayzata,
Minn.

Wanted: Used theatre booth equipment.
We dismantle. Leon Jerodsky, Paris, Il-
linois.

TOP PRICES PAID ... For X-L, Century
and DeVry projectors, CinemaScope
lenses, etc. What have you? Star Cinema
Supply, 621 West 55th Street, New York 19.

Simplex Powers, lenses, soundheads,
rectifiers, etc. Describe plus price. Richard
DeToto, 550 South Salina St., Syracuse,
N. Y. Also safety films.

EQUIPMENT REPAIR SERVICE

Put that $100 back in your pocket!!
Broken reflectors easily repaired! Lasts
indefinitely! Guaranteed! Kit only $2.95
postpaid. Gatorhide, Box 71, Joplin, Mis-
souri.

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GENERAL EQUIPMENT— USED

BUY WITH CONFIDENCE! Vidoscope
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jector, like new, $169.50; X-L soundheads,
rebuilt, $495; 14" reflectors, good condi-
tion, $6.50; Simplex portable projectors,
arcs, rectifiers, complete, rebuilt, $1,295.
Star Cinema Supply, 621 West 55th Street,
New York 19.

3 syncrofilm portable projectors, 2 with
arcs, sound rectifiers, complete with 1,000
watt bulb. All for $1,000. Joe Binder, 426
4th St., Fremont, Ohio.

Simplex Four Star sound system, dual
amplifier. Excellent. Out of 3,000-seat the-
atre, $495. Richard DeToto, 550 South
Salina St., Syracuse, N. Y.

DRIVE-IN THEATRE EQUIPMENT

ARVIN ELECTRIC-IN-CAR HEATERS.

Brand new, 8 per ctn. Model T-90-1, 220
volt, 500 watts, 10 ft. cord. Pric-, $9.75
each. Ontario Equipment Co., Toledo 1,
Ohio.

In-Car Electric Heater thermostatic
switches @ $1.20 each for 50 lot, sample,
$1.00. Large copper terminals for heater
ground wire, $10.00 per 1,000. Spade type
speaker wire terminals crimp-ons, $6.00
per 1,000. Heater toggle switches rated
15 amps @ 65c. Indicator lights, terminal
barrier strips, meters and other panel ma-
terial in stock. Listing is free. Berns Elec-
tronic Sales, 80 Winder St., Detroit 1,
Mich.

THEATRES WANTED

Wanted: To buy or lease drive-in the-
atres, 500-car capacity or larger. Boxoffice
9238.

Wanted: To lease or buy indoor theatres,
metropolitan areas, population at least
75,000. Contact William Berger, Metro-
politan Hotel, Cincinnati, Ohio.

Wanted: To lease drive-in or indoor the-
atre in Michigan or Ohio. Boxoffice 9391.

Wanted to Buy or Lease drive-in the-
atres in Ohio, 500-car capacity or larger.
Cash deal. Boxoffice 9394.

Wanted to Lease theatre in town 5,000
or more in Texas. 25 years experience.
Fred Mullins, 147 Trumpet Vine, Lake
Jackson, Texas. CY 7-6651.

THEATRES FOR SALE

West Coast theatres for sale. Write for
list. Theatre Exchange Company, 260
Kearny Street, San Francisco 8, California.

Theatre Closed: For sale, complete the-
atre equipment, 550-seat house. Write
Palace Theatre, Antigo, Wisconsin.

400-seat theatre, midwest Missouri, only
one radius 30 miles. Good equipment,
air-conditioned, real opportunity. Family
operation. Priced to sell. Boxoffice 9392.

450-Car Drive-In for sale in Central
California. Approximately 60 miles south-
west of Fresno. CinemaScope lens and
screen. Ideal family operation. Owner re-
tiring. Write make offer. CUTHBERT', 3024
Woodlcme Drive, Bakersfield, California.

Washington family theatre and 2 br.

apt., for only $5,000 cash, including apt.,
furniture. Theatre Exchange, 5724 S. E.
Monroe, Portland 22, Oregon.

DRIVE-IN THEATRE TICKETS

Drive-In Theatre Tickets! 100,000 1x2"
special printed roll tickets, $37.95. Send
for samples of our special printed stub
rod tickets for drive-ins. Safe, distinctive,
private, easy to check. Kansas City Ticket
Co., Dept. 10, 109 W. 18th St., (Filmrow),
Kansas City 8, Mo.

INTERMISSION TAPES

WEEKLY TAPE SERVICE: Intermission
tapes that sparkle . . . guaranteed to
sell . . . customized . . . free sample
Commercial Sound Service, P. O. Box 5,
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THEATRE SEATING

Good used late model chairs available,
rebuilt chairs. Chairs rebuilt in your the-
atre by our factory trained men, get our
low prices. Parts for all makes of chairs.
Sewed covers made to your size, also
leatherette 25"x25", 55c ea.; 27"x27", 65c
ea. Chicago Used Chair Mart, 829 South
State Street, Chicago. Phone WE 9-4519.

SEAT RENOVATING: Neat, fast, reason-
able, anywhere. Sewed combination seat
covers. Service Seating Co., 1525 West
Edsel Ford, Detroit 8, Michigan. Tyler
8-9481, Texas 4-2738.

Theatre Chairs, International, Bodiform,
plywood. Lone Star Seating, Box 1734,
Dallas.

BUSINESS STIMULATORS

Bingo, more action! $4.50 M cards. Other
games available, on, off screen. Novelty
Games Co., 106 Rogers Ave., Brooklyn,
N. Y.

Build attendance with real Hawaiian
orchids. Few cents each. Write Flowers of
Hawaii, 670 S. Lafayette Place, Los An-
geles 5, Calif.

Bingo Cards. Die cut 1, 75-500 combina-
tions. 1, 100-200 combinations. Can be

used for KENO, $4.50 per M. Premium
Products, 346 West 44th St., New York
36, N. Y.

SOUND-PROJECTION SERVICE
MANUAL

EXHIBITORS, PROJECTIONISTS — RE-
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schematics, simplified repairing data and
a gold mine of other helpful data, all for
only $6.90, with a binder. Without loose-
leaf binder, $4.95. (Data on 16, 35 and
70mm equipment.) Written by practical
engineer. Cash or P. O. Order. No CODs.
Order Now! Wesley Trout, Engineer, Box
575, Enid, Oklahoma.

POPCORN MACHINES

Popcorn machines, all makes. Complete
new popping units, $185.00 ex. Replace-
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BOXOFFICE :: January 1, 1962

A PREVIEW OF 1962

A REVIEW OF 1961

Boxoffice

Now in Preparation

TELLS YOU:

Who- —

Are the most popular stars
Are the top hit producers
Are the leading directors
Made the most hit pictures
Turned out the best shorts
Stars in what '60-'61 films
Distributes foreign films

'What —

Is in store for 1962-63
Are the year's hit films
Was their boxoffice rating
Is the biggest grosser
Films scored above average
Films scored below average
Are their release dates
Is their running time
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— Outstanding Hits — Production Trends — Advance data on
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JANUARY 8,

UTsu o 0sr

9 rr.M P

T, SCg y n l0L{ ^Tn

Si ** u\:° •*

^ 1 SB ' i o u . /

James Shigeta, Myoshi Umeki and Kam Tong are shown in a scene from "Flower Drum
Song," Universal-International release which has been chosen December winner of the
BOXOFFICE Blue Ribbon Award by the National Screen Council. The Award is made
for a film's general entertainment values and suitability for family viewing . . . Page 11.

SECTION

A STRANGE NEW EXPERIENCE

"Shocks

JACK CLAYTON

FROM

The Director of
Room At The Top’

~DO

THEr

EV£f*y

T^ETURN

was she really the
love-starved spinster
'the innocents’
said she was?

Century-Fox

FOREWARNED

In your own interests
see this picture from
the beginning to the
mind-stunning end!

DEBORAH

KERR

Imoeetife

SENSATIONAL

BUSINESS-

FIRST

PRE-RELEASE
OPENINGS—
NEW YORK ,
LOS ANGELES!

PETER WYNGARDE • ME6S JENKINS - MICHAEL REDGRAVE

Produced and Directed by JACK CLAYTON
WILLIAM ARCHIBALD and TRUMAN CAPOTE

From HENRY JAMES’ masterpiece of macabre love, "The Turn Of The Screw"

QnemaScoPEz

and Executive Producer

• PAMELA FRANKLIN • MARTIN STEPHENS - ALBERT FENNELL

as THE UNCLE

THE NATIONAL FILM WEEKLY

Published in Nine Sectional Editions

FAST-PLAYOFFS FALLACY

BEN SHLYEN

Editar-in-Chief and Publisher

DONALD M. MERSEREAU, Associate
Publisher & General Manager
NATHAN COHEN. .Executive Editor
JESSE SHLYEN ... .Managing Editor

HUGH FRAZE Field Editor

AL STEEN Eastern Editor

WILLIAM HEBERT. .Western Editor
I. L. THATCHER .. Equipment Editor
MORRIS SCHLOZMAN Business Mgr.

Publication Offices: 825 Van Brunt Bird.
Kansas Lily 24, .Mo. Nallian Cullen, Ex-
ecutive Editor; Jesse Shlyen, Managing
Editor: Morris Sclilozman, Business Man-
ager; Hugh Kraze, Field Editor; 1. L.
Thatcher, Editor The .Modem Theatre
Section. Telephone CHestnut 1-7777.
Editorial Offices: 1270 Sixth Ave., Rocke-
feller Center, New York 20, N. Y. Donald
M. Mersereau, Associate Publisher &
General Manager; A1 Steen, Eastern Edi-
tor. Telephone COlumbus 5-0370.

Central Offices: Editorial — 920 N. Mich-
igan Ave.. Chicago 11, ill., Frances B.
(Sow, Telephone superior 7-3972. Adver-
tising — 58U9 North Lincoln, Louis lildler
and Jack Broderick, Telephone LOngbeach
1-5284.

Western Offices: Editorial and Film Adver-
tising — 6404 Hollywood Bird., Hollywood
28, Calif. William Hebert, manager, Tele-
phone Hollywood 5-1186. Equipment and
Non-Film Advertising — 672 S. Lafayette
Park, Los Angeles, Calif. Bob Wett-
stein, manager. Telephone DUnki. k 8-2286.
London Office: Anthony Gruner, 1 Wood-
berry Way, Finchley, No. 12. Telephone
Hillside 6733.

The MO HERN THEATRE Section is In-
cluded In the first issue of each month.

Atlanta: Jean Mullis, P. 0. Box 1695.
Albany: J. S. Conners, 140 State St.
Baltimore: George Browning, 119 E.

25th St.

Boston: Guy Livingston, 80 Boylston,
Boston, Mass.

Charlotte: Blanche Carr, 301 S. Church
Cincinnati: Fiances Hanford, UNlverslty

1- 7180.

Cleveland: W. Ward Marsh, Plain Dealer.
Columbus: Fred Ocstreicher, 52% W.
Norilt Bruadway.

Dallas: Mable Guinan, 5927 Wlnton.
Denver: Bruce Marshall, 2881 S. Cherry
Way.

Des .Moines: Pat Cooney, 2727 49th St.
Detroit: II. F. Ileves, 906 Fox Theatre
Bldg., woodward 2-1144.

Hartford: Allen M. Widem. CH 9-8211.
Indianapolis: Norma Ceraghty, 436 N. U-
liuois St.

Jacksonville: Robert Cornwall, 1199 Edge-
wood Ave.

Memphis: Null Adams, 707 Spring St.
Miami: Martha hummus, 622 .YE. 98 St.
Milwaukee: Wm. Nichol, 2251 S. Layton.
Minneapolis: Dun Lyons, 72 Gleiiwood.
New Orleans: Mrs. Jack Auslet, 2268%
St. Claude Ave.

Oklahoma City: Sam Brunk, 3416 N. Vir-
ginia.

Omaha: Irving Baker. 911 N. 51st St.
Philadelphia: A1 Zurawskl, 'Die Bulletin.
Plllsbiirgh: It. F. Klingensniith, 516 Jean-
ette, Wilklnsburg, Cllurchill 1-2809.
Portland. Ore.: Arnold Mil ks, Journal.
Providence: Guy Langley, 3S8 Sayles St.
St. Louis: Jue & Joan Pollack, 7335
Shaftsbury, University City, PA 5-7181.
Salt Lake City: II. Pearson. Deseret News.
San Francisco: Dolores Barusch, 25 Tay-
lor St., Olidway 3-4813; Advertising:
Jerry Nowell, 417 Market St., YUkon

2- 9537.

In Canada

Montreal: Room 314, 625 Belmont St.,
Jules Larochclle.

St. John: 43 Waterloo, Sam Babb.
Toronto: 2675 ltayview Ave., Wlilowdale,
Ont. W. Gladkih.

Vancouver: 411 Lyric Theatre Bldg. 751
Granville St.. Jack Dro.v.

Winnipeg: 93 Albert St., Barney Brookler.

Member Audit Bureau of Circulations

Second Class postage paid at Kansas City,
Mo. Sectional Edition, $3.00 per year.
National Edition, $7.50.

19 6 2
No. 12

T HEATRE attendance around the country
during the holiday week and in the first
week in the new year was, for the most part,
extremely gratifying. The reason: The film fare
was not only just about the best in many a
moon, but it afforded patrons a far greater
variety than usually had been the case. For the
so-called selectivity of the public these days,
there were new attractions to meet every taste
and this, as well as the pictures’ quality and
entertainment appeal, was a big factor in the
turnout at the nation’s boxoffices.

Looking through the amusement pages of
newspapers from a number of key cities, it was
refreshing to note how many different films
were playing and that they provided great
variance as to type. There were musicals, dramas,
historical and biblical pictures, and a scattering
of comedies which also were varied as to types.
The abundance of releases aided therein, making
it possible for more theatres to play more differ-
ent pictures than is the case when a shortage
of releases forces too far-extended multiple
bookings. Now, those who missed one or more
pictures that they particularly desired to see,
will have the opportunity of seeing them in
their subsequent runs.

That’s the way it used to be before the pattern
of the fast play-offs got such a hold on this
business — when good product wasn’t dissipated
in one fell swoop and patronage was allowed to
be built up for the overall good of the industry.
There’s a vast difference between the competi-
tion of a number of good attractions and that
wherein theatres are competing with one another
by means of the same picture at the same time.
The former stimulates public interest in movie-
going, while the latter stems it.

Doubtless, the multiple-day-and-date-run pat-
tern has merit — up to a point. But, when it is
carried beyond the point of serving the public
convenience in widely separated sections of the
big cities, it defeats its own purpose. It may
bring a quick return — sometimes a 100 percent
restoration of producer investments. But it
doesn’t give the favorable word-of-mouth reac-
tion accorded a good picture a fair chance to
attain its possible potentialities. An incalculable
number of additional dollars would find their
way into the producers’ and distributors’ cash
drawers, if the down-the-line, orderly exhibition
clearance policy of yore were to be reinstated.

The average exhibitor is becoming increas-
ingly apprehensive of the burgeoning practice —
even those who helped to bring it about. One
prominent showman, who insisted on remain-
ing anonymous, declared, “I don’t like this
multiple bookings idea and what it is contribut-
ing to the product shortage. But there’s nothing
the individual showman can do about it. It’s
like a group of restaurants advertising that they
would serve steak only during a specified week-
end and that anyone who wanted steak thereafter

would have to beat the bushes to find it. Well,
for the sake of profits, I want to be one of
those places serving steak.

“One need only to look at the amusement
advertising pages of the daily newspapers to get
the idea. It’s a feast or famine situation. One
week the screens are flooded with good new
pictures. The next week there are a lot of ‘cats
and dogs’ and reissues. Another thing, a lot
of showmen think they are being helped by the
‘see it at your neighborhood theatre or drive-in’
spot announcements on television and radio.
These screaming announcements, often concoc-
ted by some small advertising agency that knows
very little about the theatre business, and usually
reproducing in postage-stamp size a scene from
the picture — most especially if it is a so-called
spectacular — in my opinion keep more people
away from the boxoffice than they attract.”

So, any way one views it, it is a vicious
circle and one that is becoming more harmful
every day. It must be broken if the moviegoing
habit upon which the industry was built is to
be reestablished; if the product shortage is to
be alleviated.

But who will start the breaking?

★ ★

Advertising Responsibility

A recent bulletin of the United Theatre Owners
of the Heart of America contained this apt
advice with respect to advertising:

“It might be well to ‘sound a warning’ to ex-
hibitors about being careful in the selection of
newspaper advertising mats. It is important that
exhibitors accept some responsibility in using
only those newspaper ads which ‘are in good
taste.’ It is important that exhibitors realize that
the Federal Trade Commission and the Federal
Communications Commission have teamed up in
a joint effort to line up broadcasters, and other
media, in an intensified effort to screen out
questionable advertising.

“For the moment, the majority of attention
will be rendered to TV and radio, but eventually
the two governmental organizations will turn
their attentions to other fields including the
motion picture screen. ‘Over-sexed’ ads, and
ads that cannot live up to their promise to the
public will receive some very severe attention.

“When ad campaigns are ‘out of line’ with
good moral values, criticism should be rendered
intelligently, and with reasonable diplomacy in
words, to the studio responsible. Two current
pictures have ads in their pressbooks which are
bringing forth criticism from the public — they
are ‘Splendor in the Grass’ and ‘Paris Blues.’
Please take a look at these campaigns and note
that some of the newspaper ads are extremely
sexy. These are mentioned as examples of the
problem at hand.”

JANUARY 8,
Vol. 80

$100 MILLION RISE IN THEATRE
'62 GROSS SEEN BY JOHNSTON

New Stars to Be Introduced to Public
Via Three One-Reel Short Subjects

MPAA Head Also Looks
For Attendance Boost
By 2 Million Weekly

HOLLYWOOD — An increase of at least
$100,000,000 in the U.S. boxoffice gross in
1962 was predicted by
Eric Johnston in a
year - end statement
issued this week. The
1961 gross has been
estimated at $1,500,-
000,000, a figure
which hit the all-
time high set in 1948.

The president of
the Motion Picture
Ass’n of America also
forecast a 2,000,000
rise in the weekly
average attendance,
up fi-om the 44,000,000 average of the last
12 months.

OVERSEAS OUTLOOK GOOD

Johnston also was optimistic about the
foreign market. He said he looks for a
$10,000,000 to $15,000,000 boost in overseas
remittances over the $200,000,000 annual
income the industry received from abroad
in 1961.

Also predicted by the MPAA president
for 1962 was a rise in the number of films
to be produced in Hollywood. He said that
although “some of our established markets
in the industrialized nations of the world
are falling off, largely because of the
growth of TV in these countries, in 1962,
and in the years ahead, this will be sub-
stantially offset by increasing markets for
U.S. films in Africa, Asia and Latin
America.”

The MPAA head further expressed opti-
mism for local labor unions which are cur-
rently concerned with the runaway pro-
duction problems.

SEES RISE IN PRODUCTION

“It is true,” Johnston said, “that recent
years have brought a decrease in pictures
made in Hollywood, but, in my opinion,
1962 will see a rise in the number of pic-
tures produced in Hollywood. On every
score it is clear that the American motion
picture is overcoming its problems and the
year 1962 will surely be one of its better
years in popular appeal, economic stability
and artistic achievement,” he said.

Equipment Dealers to Meet
In Chicago Jan. 22-24

NEW YORK — The Theatre Equipment
Dealers Ass’n has scheduled a trade meet-
ing at the Hotel Sherman in Chicago,
January 22-24, it has been announced by
TEDA’s board of directors. The Chicago
meeting will be the first since the as-
sociation invited manufacturers last
October to join with dealers in a com-
bined organization. Reservations should be
addressed to A1 Halbron, Hotel Sherman,
Chicago.

HOLLYWOOD — In a joint campaign to
be promoted by production, distribution and
exhibition, new stars will be introduced to
the public through three one -reel short
subjects and a full-color tabloid, it was
disclosed by Robert W. Selig, vice-president
and general manager of theatre operations
for National Theatres & Television and
chairman of the New Stars Committee. A
plan announced earlier to present the
young thespians via one two-reeler has
been discarded in favor of the short sub-
jects, the first of which is slated to begin
production this week.

Included in each reel will be approxi-
mately six new star candidates of various
producers, with studio facilities to be fur-
nished without overhead by Paramount.
Contained in the shorts will be footage of
the new stars’ current and forthcoming

Cooper Returns to Para.

As Publicity Coordinator

NEW YORK — Saul Cooper has been
named national publicity coordinator and
liaison between the Paramount studio and
the homeoffice ad-
vertising and pub-
licity departments by
Martin Davis, direc-
tor of advertising and
publicity.

Cooper formerly
was with Paramount
and resigned to direct
national media pub-
licity for 20th Cen-
tury-Fox, concentrat-
ing on “Cleopatra”
and “The Longest
Day.” In his return
to Paramount, he will work under Davis
and coordinate activities between Herb
Steinberg, studio publicity manager, and
Nick Mamula, New York publicity man-
ager.

TOA Mid-Winter Meeting
In Washington in March

NEW YORK — The mid-winter meeting
of Theatre Owners of America’s board of
directors and executive committee will be
held in the Sheraton-Park Hotel in Wash-
ington, starting March 18 and continuing
through March 20.

Committee meetings have been scheduled
for the 18th, a Sunday. The board will hold
its first session the next morning. That
evening, there will be TOA’s annual re-
ception for members of Congress and other
government officials.

films. John Wayne, named 1961 star of the
year by the Theatre Owners of America,
and Doris Day, 1960 honoree, will be in-
vited to do the narration.

Named to TOA’s new stars committee by
TOA president John Stembler are Roy
Cooper, George Kerasotes, Arthur Lock-
wood, Sidney M. Markley, John Rowley, E.
D. Martin and John B. Schuyler. Exhibi-
tors will pay a nominal rental fee to a dis-
tribution company to show the shorts.

The color tabloid, which will have an
estimated 5,000,000 circulation, will imple-
ment the campaign on the local level. Ex-
hibitors will buy these for distribution in
their theatres and in retail establishments.

Earlier, the new stars campaign was
kicked off with the mailing of press kits on
eight new actors and actresses which have
been given space by over 100 major dailies.

ACE io Chari Plans
At January Meeting

NEW YORK — The executive committee
of the American Congress of Exhibitors will
meet on January 17 in New York to
discuss a variety of subjects pertaining to
ACE’s 1962 activities. Among the subjects
on the agenda will be the permanent struc-
ture of the organization, a management
team for, and launching of, A.C.E. Films.

The filing of the registration of A.C.E.
Films with the Securities and Exchange
Commission is expected to be completed
before the January meeting. Meanwhile,
there has been considerable activity on
the money front, with more exhibitors in-
vesting.

The amount of the additional money
could not be ascertained, but ACE still is
limiting investments to a minimum of $25,-
000. Under SEC rulings, “limited” solici-
tations are permitted prior to the filing of
registrations. It is understood that after
registration, ACE will accept smaller
amounts.

Emanuel Frisch, ACE chairman, has re-
ported that many exhibitors have made in-
quiries about acquiring shares in the new
company.

The selection of management for the
film production project is expected to be
a major point on the meeting’s agenda.
Several names are under consideration for
the top spot in the films setup which will be
only indirectly associated with ACE.

An ACE spokesman said that the or-
ganization was active on many fronts and
that there would be an announcement of
the projects following the meeting.

Eric A. Johnston

Saul Cooper

BOXOFFICE :: January 8, 1962

Skouras Celebration

Sol C. Siegel Leaving
MGM Production Post

Is Now Under Way

NEW YORK — The Spyros Skouras 20th
anniversary celebration is in full swing and
20th Century-Fox branches throughout the
world are working almost around the clock
to achieve their goals in extra playdates
and billings in honor of Skouras’ two dec-
ades as president of the company. The
20th-Fox record company also will par-
ticipate in the 13-week salute with addi-
tional diversified albums and singles.

STRONG ALLY FOR EXHIBITORS

Glenn Norris, general sales manager, and
Martin Moskowitz, assistant general sales
manager, declared prior to the launching
of the drive that Skouras had done more
for the industry than any one man and
that exhibitors could show their apprecia-
tion hy cooperating in the celebration. They
said that Skouras’ introduction of Cinema-
Scope at a time when the business was
slipping badly had kept many exhibitors
in business.

Moskowitz is serving as domestic chair-
man of the celebration and Herb Jaffey as
drive captain for the international organ-
izations.

Domestic sectional captains are Tom
McCleaster, southern and western
branches; Robert L. Conn, Atlantic and
midwestern; Peter Myers, Canadian; Abe
Dickstein, New England and eastern, and
Clayton Pantages, overall advertising co-
ordinator.

The field captains consist of Morris Sud-
min, Los Angeles and San Francisco; Ken-
neth O. Lloyd, Salt Lake City, Seattle,
Portland, Denver and Kansas City; Wil-
liam Briant, New Orleans, Jacksonville, At-
lanta and Charlotte; Dan Coursey, Mem-
phis, Oklahoma City and St. Louis; Sam
Diamond, Philadelphia, Washington and
Pittsburgh; Jack Lorentz, Milwaukee, Min-
neapolis, Des Moines and Omaha; A1 Levy,
Boston, Buffalo, New Haven and Albany,
and Bob McNabb, Detroit, Cleveland, Cin-
cinnati and Indianapolis.

The domestic distribution department
during the three months of the drive will
concentrate its efforts on six major pic-
tures; namely, "Tender Is the Night,” “The
Innocents,” “Satan Never Sleeps,” “State
Fair,” “Bachelor Flat” and the re-release
of “The King and I.”

ABROAD FOR CAMPAIGN

For the world market, Murray Silver-
stone, president of the international com-
pany, is in Europe to accelerate the cam-
paign abroad. The international division
will release a minimum of five major at-
tractions, consisting of “The Hustler,”
“The Comancheros,” “The Second Time
Around,” “The Innocents” and “Tender Is
the Night."

William C. Michel, executive vice-presi-
dent of 20th-Fox, is serving as worldwide
chairman of the 13-week celebration.

Charles Einfeld, vice-president in charge
of advertising, publicity and exploitation,
said that the company would exert every
possible promotional facet in ballyhooing
the drive, both in this country and abroad.
He said 20th -Fox had the product to back
up its claim.

Skouras became 20th-Fox president in
1942, after 28 years as an exhibitor, prin-
cipally in the midwest and west.

Committee Chairmen Set
For SMPTE Convention

HOLLYWOOD — The committee chair-
men for the 91st convention of the Society
of Motion Picture and Television Engineers
to be held April 29-May 3 at the Ambassa-
dor Hotel have all been selected, it was an-
nounced by convention vice-president Harry
Teitelbaum of the Hollywood Film Co.

The chairmen are: auditors, A. B. John-
son, Pathe Laboratories, and Jim Hanley,
Consolidated Film Industries; banquet,
Walter L. Farley jr. and Fred Godfrey of
W. J. German, Inc.; exhibits, George Ken-
dall, Moviola Mfg. Co.; hospitality, Ted
Grenier, American Broadcasting Co.; hotel
arrangements, De J. White, Magnasync
Corp. ; ladies program, Mrs. Ralph E.
Lovell and Mrs. Harry Teitelbaum; local
arrangements, Ralph E. Lovell with Jack P.
Kiel of Photosonics, Inc., as vice-chairman.

Luncheon, Carl Hunt, General Film Lab-
oratories; membership, Harry Lehman,
Cine -Tel; convention movies, Herbert
Farmer, USC; papers, Ed Ancona; projec-
tion, Merle H. Chamberlin, MGM; public
address and recording, Daniel Wiegand,
USC, with Ken Miura of USC, vice-chair-
man; registration, Arthur Jacobs, Jack
Wrather Corp., and Robert Creamer, Gen-
eral Film, vice-chairman; television closed
circuit, Glen Aikens, ABC; transportation,
Russ Landers, General Film Laboratories;
publicity, Thornton Sargent.

Interboro Acquires Two

NEW YORK — The Interboro Circuit has
acquired two theatres in Long Beach, L. I.,
from Rugoff Theatres, Inc. The theatres
are the Laurel, 1,000 seats, and the Lido,
600 seats. The realty firm of Berk & Krum-
gold handled the transactions.

LEVINES AT PREMIERE— Patricia
Levine, daughter of Embassy Pictures
president Joseph E. Levine, is inter-
viewed by Sonny Fox during the live
telecast of Levine’s special children’s
premiere of his film, “The Wonders
of Aladdin,” at the Forum Theatre in
New York. Looking on are Patricia’s
brother Richard, her father and
mother.

HOLLYWOOD — Sol C. Siegel has asked
to be relieved of his overall duties as pro-
duction chief of
Metro - Goldwyn -
Mayer and the re-
quest has been
granted. Siegel will
return to independent
production for MGM
release. He said the
decision was not a
sudden one, but had
been under discussion
with Joseph R. Vogel,

MGM president, for
quite some time.

Siegel left inde-
pendent production in April 1958 to become
the company’s production head. He was
brought into the organization by Vogel to
return the picture -making aspects of the
company to a profitable operation, at a
time when the studio needed a top-ranking
production executive to take charge. MGM
has had a long list of important boxoffice
successes since he assumed the picture -
making helm.

Prior to becoming the company’s produc-
tion head, he had had a three -year associa-
tion with MGM as an independent pro-
ducer releasing through that organization.
His role as a producer extends back to
1934 when he joined Republic Pictures
Corp. as executive producer. He became an
independent in 1944 and produced “Kiss
and Tell,” a wartime comedy hit, but the
following year he assumed an executive
post at Paramount where his pictures in-
cluded “Welcome Stranger,” “Blue Skies,”
and “Perils of Pauline.” In 1946 he became
associated with 20th Century-Fox.

Among Siegel’s better known successes
are “Letter to Three Wives,” “I Was a
Male War Bride,” “Panic in the Streets,”
“My Blue Heaven,” “Call Me Madam,”
“Gentlemen Prefer Blondes,” “Three Coins
in the Fountain,” “There’s No Business
Like Show Business,” “High Society,” “Les
Girls” and “Home From the Hill.”

Provo, Utah Airer Wins
$30,000 Trust Award

SALT LAKE CITY — The Pioneer Drive-
In Theatres, Inc., of Provo, Utah has been
awarded $30,000 in damages in a verdict
by Judge A. Sherman Christenson of the
federal district court. The case was de-
cided following a three-week trial of a civil
antitrust action against a group of dis-
tributors and theatre companies.

The defendants charged Pioneer with
conspiracy to restrain trade and com-
merce in interstate distribution of films.

Ark. Theatres File Pay TV Brief

LITTLE ROCK, ARK. — In an appeal
brief of exhibitor appellants filed in the
county circuit court here, it is contended
that only the Federal Communications
Commission has jurisdiction in the licens-
ing of Midwest Video’s projected toll tele-
vision operation here.

Sol C. Siegel

BOXOFFICE :: January 8, 1962

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West Side' Makes
9 Ten Best' Lists

Drive-In Restaurant Ideal Operation
For Diversification, Circuit Finds

Shown at a ribbon-cutting ceremony opening Alliance’s new Fort Wayne
drive-in restaurant are, left to right: Peter Panagos, advertising manager; S. J.
Papas, executive vice-president; Mayor Paul Burns; James J. Gregory, in charge of
operations, and Lewis Harris, head of Alliance’s maintenance department. The
new Fort Wayne unit also is shown above.

NEW YORK— “West Side Story,” the
Seven Arts-Mirisch Co. production for
United Artists release, swept the field in
the list of "best ten pictures” for the year
1961 by not only being named best picture
of the year by the New York Film Critics
Circle but was included in every one of the
lists issued by the seven New York daily
newspapers and was also on the National
Board of Review’s “best ten” list, a total
of nine out of nine lists.

‘JUDGMENT’ IS RUNNERUP

Close behind was Stanley Kramer’s
“Judgment at Nuremberg,” also for United
Artists release, which was on the seven
New York daily newspaper lists and also
the National Board of Review, a total of
eight lists.

In 1960, “The Apartment,” released by
UA, and “Sons and Lovers,” British-made
film, were each on the majority of lists,
but not on all.

In 1961, another British-made film
“Saturday Night and Sunday Morning,"
distributed in the U. S. by Continental,
was on the majority of newspaper “best
ten” lists, the New York Times, the Herald
Tribune, the Mirror, the Journal-American,
the World Telegram and the Post, as well
as the National Board of Review, a total
of seven, only the Daily News failing to
include the picture.

Two other pictures, “One, Two, Three,"
another Mirisch production for United
Artists release, and “The Hustler,” a
Robert Rossen production filmed in New
York City for 20th Century-Fox release,
were also on the majority of “best ten”
lists, six each. Only the Herald-Tribune
and the Post failed to include “One, Two,
Three” while only the Herald Tribune and
the Daily News failed to include “The
Hustler.”

In 1960, the foreign-made “Hiroshima,
Mon Amour” was on the majority of “best
ten” lists but, in 1961, “La Dolce Vita,”
Italian language feature being released
by Astor Pictures on a two-a-day basis, was
on only four of the seven New York daily
newspaper lists, in addition to being named
“best foreign picture of 1961” by the New
York Film Critics.

THREE ON FOUR LISTS

The pictures which were on four “best
ten” lists were three in number, “The Guns
of Navarone,” Carl Foreman production for
Columbia release, which was picked by the
News, the Mirror, the Journal-American
and the World Telegram; “Splendor in the
Grass,” Elia Kazan production for Warner
Bros., which was picked by the Times, the
Mirror, the World Telegram and the Post,
and the Italian-made “Two Women,” dis-
tributed in the U. S. by Embassy Pictures,
which was listed by the Times, the Herald
Tribune, the Journal-American and the
National Board of Review.

In addition to picking “West Side Story”
as best picture of 1961; “La Dolce Vita”
as best foreign picture and Sophia Loren
as best actress, the New York Film Critics
chose Maximilian Schell as best actor for
his role in “Judgment at Nuremberg” and
Abby Mann’s screenplay for the same pic-
ture while Robert Rossen was named the
year’s best director for “The Hustler.”

FORT WAYNE, IND. — Seeking diversi-
fication in allied fields, Alliance Amuse-
ment Co. has successfully turned to the
drive-in restaurant as a source of expan-
sion. Operator of 40 indoor theatres and
30 drive-ins in the midwest, Alliance this
week opened its ninth McDonald Drive-In
Restaurant in this community, its third
Fort Wayne restaurant.

Alliance went into the drive-in restau-
rant business less than three years ago be-
cause, said S. J. Papas, executive vice-
president, after acquiring the first res-
taurant “it was quickly discovered that the
same basic principles needed for a suc-
cessful theatre operation can be applied
to the drive-in restaurant field very ef-
fectively.”

“Good theatre managers become excel-
lent McDonald managers,” he said. “Clean-
liness, courteous service and showmanship
are essential for both operations. The same
methods of advertising and promotion
which have been used in theatres have been
applied by us to the McDonald operations
with success.”

Smart newspaper ads, solid radio copy,
anniversary parties for each unit, birthday
clubs (whereby youngsters are guests of
the management for a free hamburger,
French fries and a milk shake), and
special courtesies to Little Leaguers, school
patrol boys, etc., have been among the the-
atre promotions introduced to the drive-
in restaurant business.

Alliance has McDonald units in Ander-
son, Kokomo and Terre Haute in Indiana

as well as in Fort Wayne, and one drive-
in in Chicago. The circuit will add addi-
tional restaurants in 1962.

New 8mm Sound Projector
To Be Offered Public

CHICAGO — Mansfield Industries of Chi-
cago and Columbia Pictures Corp. have
signed an agreement permitting the early
marketing of an 8mm sound projector, said
to be the first ever offered the public for
less than $100. The agreement was signed
by A. Schneider, president of Columbia,
and Herbert R. Leopold, Mansfield
president.

The projector will handle either silent or
sound films, and is based on a special
adaptor developed by Columbia from an
invention by two Los Angeles engineers.
Standard Kollsman Industries will manu-
facture the adaptor and Mansfield will dis-
tribute it. The adaptor will be built into a
Mansfield projector and also will be sold
separately for use in converting all makes
of silent projectors to sound.

18 20th-Fox Films to Seven Arts

LOS ANGELES — Eighteen 20th Century -
Fox pictures have been acquired by Seven
Arts Associated for release. The films in-
clude “Desk Set,” “Will Success Spoil Rock
Hunter?” “Wayward Bus,” “Between
Heaven and Hell,” “Love Me Tender,”
“Man in the Gray Flannel Suit” “Abomin-
able Snowman” and “Sixth of June.”

BOXOFFICE :: January 8. 1962

Association Is in Its 40th Year

Edward M. Saunders Dies;
Was With MGM 40 Years

NEW YORK — Edward M. Saunders, who
had been associated with Metro-Goldwyn-
Mayer for more than
40 years prior to his
retirement in 1958,
died at his Bronxviile
home at the age of
76.

Saunders had been
in the film industry
for more than 50
years, starting in
1906 with Richard
Rowland in Pitts-
burgh at the Pitts-
burgh Calcium and
Film Co. He later be-
came branch manager for General Film Co.
and then opened the first New York office
for Universal Pictures. After an association
with Alco Film Co., Saunders moved to
Metro Film Corp., which subsequently be-
came Metro-Goldwyn-Mayer. When he re-
tired, he was assistant general sales man-
ager, prior to which he was western divi-
sion manager.

E. M. Saunders

'Bachelor Flat' on COMPO
Plan Set for Cincinnati

CINCINNATI — “Bachelor Flat,” the sec-
ond picture to be promoted in this area
under the COMPO merchandising plan, is
scheduled to start on Wednesday (10).
“Pocketful of Miracles” was the first.

Charles E. McCarthy, COMPO executive
vice-president, said that 71 theatres would
participate in the area promotion of 20th
Century-Fox’s “Bachelor Flat.” He said
they included all key situations and other
important theatres in the tri-state terri-
tory. The picture will play off in successive
waves through January and February. A
minimum of 20 prints will service the dates.

In addition to cooperating with par-
ticipating exhibitors in over-the- normal
budget newspaper and radio campaigns on
the local level, 20th-Fox has scheduled a
TV spot campaign to originate from Cin-
cinnati, Dayton and Columbus. This TV
campaign will be paid for 100 per cent by
the distributor. It will coincide with the
first -run engagements in these three major
keys and also will serve to bolster interest
in the picture in the subsequent run situa-
tions that follow.

James Burkett on Tour
Of P-A's Exchanges

HOLLYWOOD — James S. Burkett, vice-
president of Pathe Laboratories, Inc., and
Pathe-America Distributing Co., Inc., has
embarked on a month-long tom - of P-A
exchanges in principal cities. During a
two-week stay in New York Burkett will
confer with Budd Rogers, Pathe-America
president, in regard to national sales and
advertising campaigns planned on “Vic-
tim,” starring Dirk Bogarde and Sylvia
Syms, and “Whistle Down the Wind,”
starring Hayley Mills.

Burkett also will help coordinate the na-
tional campaign on “The Quare Fellow,”
film adaptation of the Brendan Behan con-
troversial play now being directed in Ire-
land by Arthur Dreifuss for producer
Anthony Havelock-Allan.

MPAA in a Nostalgic Move; Now Is Back
On the Same Site As When Established

NEW YORK — The Motion Picture Ass’n
of America has swung full circle insofar
as its headquarters are concerned. The
MPAA Monday (8) will move into its new
home at 522 Fifth Ave., on the very site
where the association had its beginning in
1922.

On March 4, 1922, Will H. Hays, presi-
dent of the newly formed Motion Picture
Producers & Distributors of America, be-
gan functioning in an office on the balcony
of the Guaranty Trust Co. at 522 Fifth Ave.
That building has been torn down and in
its place has been constructed the new
home of the bank, now known as the
Guaranty-Morgan Trust Co. And that is
where the MPAA will live from now on.

Hays and a small group of aides kept
their office at the bank until December
1924 when they moved to 469 Fifth Ave.,
where they remained until 1931. In that
year, the MPPDA moved to 28 W. 44th St.,
occupying a part of the 21st floor and
gradually expanding until it filled the en-
tire 21st and 22nd floors.

The person with the longest term of
service with the association is Sue Martin,
now secretary to George Vietheer of the
export division. Miss Martin joined the
MPPDA on June 13, 1922. Runner-up
among the service veterans is Lily Braig,
who joined in September 1923. She now is
in charge of the association files. Others
who became associated with the organiza-
tion in the 1920s and have remained ever
since are John McCullough, who went with
the MPPDA on Dec. 1, 1923; Judy Stroth-
kamp, May 1925, and Harold Burke, Dec.
1, 1926.

McCullough recalled last week that he

joined the association on a temporary
basis, a two-week assignment to set up a
children’s project involving Saturday
morning shows. He stayed on to handle
community relations and, in 1925, was
named office manager. He now covers a
wide variety of duties, in addition to serv-
ing as office manager.

Former executives who have retired but
who spent many years at the W. 44th St.
address are Courtland Smith, a Hays aide;
Ted Herron, assistant treasurer, and
Francis Harmon, long executive assistant
to Hays.

When Eric Johnston was elected presi-
dent in 1946, he changed the name of the
organization to Motion Picture Ass’n of
America. He was on hand at the weekend
for the moving chore.

WB Promotes Joe Kaitz

NEW YORK — Joe Kaitz, a salesman in
the Warner Bros, exchange in Buffalo, has
been promoted to Milwaukee branch man-
ager by Charles Boasberg, general sales
manager. Kaitz succeeds Moe Dudelson,
who has been transferred to Chicago sales
manager, replacing William H. Lange,
newly named branch manager in Pitts-
burgh.

’Agony and Ecstasy' to 20th-Fox

HOLLYWOOD — “The Agony and the
Ecstasy,” biography of Michelangelo by
Irving Stone, has been purchased by 20th-
Fox for a reported $125,000. Negotiations
are now in progress for Burt Lancaster to
star, with John Patrick to write the script.

ANOTHER NEW THEATRE FOR LONG ISLAND AREA— The population
explosion on Long Island has resulted in the biggest theatre building boom the
New York area has experienced in many decades. Newest theatre to be announced
is the 800-seat Plaza, located in the Mid-Hudson Shopping Plaza, Newburgh. A 21-
year lease for the theatre has been negotiated by Associated Independent Theatres
of New York. This is the 18th theatre in the AIT circuit, and Sam Baker and his
associates in the circuit intend to add additional shopping center theatres in the
future. The architects are Meyer and Kasindorf.

BOXOFFICE ;: January 8, 1962

Alvin K. Bubis Debuts

ON 20TH-FOX STUDIO SET IN FRANCE— Shown on the set of Darryl F.
Zanuck’s production, “The Longest Day,” on location in France, left to right, are
Peter G. Levathes, 20th Century-Fox executive vice-president in charge of pro-
duction; Spyros P. Skouras, president of 20th-Fox; Zanuck, producer of the
CinemaScope production, and Bernard Wicke, director of the German portion of
the film, which recreates the D-Day landings, when Allied armies stormed ashore
on a 50-mile arc of beach and rock and smashed the Nazi defenses. Among the
stars in the film are William Holden, Henry Fonda, Robert Mitchum, Peter Law-
ford, Kenneth More, Curt Jurgens, Robert Taylor, Robert Wagner and Irina
Demich.

TO A Disappointed Over '67 Product
Flow; 220 Total , Down 19 from '60

NEW YORK — In its current bulletin,
Theatre Owners of America expresses its
disappointment over Hollywood’s numerical
output in 1961. TOA’s tabulation showed
that only 220 new films were released by
the 11 larger companies last year, down
19 from the 239 of strike-crippled I960,
four under 1959 and 79 under 1958.

Of the 220 films, 68 were foreign made
and released by the major companies, or
31 per cent of the total, only slightly under
the 75 foreign pictures of 1960, which rep-
resented 31 y 2 per cent of that year’s total.
The net result, the bulletin pointed out,
was the release in 1961 of only 152 Ameri-
can-made pictures by all companies.

Interesting trends were pointed up by
TOA in its survey. The greatest number of
releases were in the Memorial Day-July 4
and Christmas periods. The non-holiday
“drought” periods were even more accentu-
ated than in 1960, while 1959 had only 15

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pictures in January, March and August
and a new low of 14 in September.

TOA asserted that the mid-year switch
by Allied Artists from a policy of lower-
budgeted films to bigger pictures and 20th
Century-Fox’s reduction in releases during
the June through December period adverse-
ly affected the totals. The only companies
to release more pictures in 1961 than in
1960 were American-International, Conti-
nental Distributing, MGM and United
Artists, but, TOA said, these increases were
small.

“We have a long way to go before we
attain the 300 pictures necessary to take
some of the bite out of the product
squeeze,” TOA concluded. “The figures are
also an object lesson for the need for A.
C. E. Films.”

Record Number of Shorts
Contenders for Oscars

LOS ANGELES— A record number of
live action short subjects were screened
Saturday and Sunday (6,7) in the Academy
Award Theatre, with more than 20 sub-
jects vying for Oscar consideration.

Hal Elias, chairman of the Academy of
Motion Picture Arts and Sciences short
subject branch, said the preliminary
screenings were conducted over the week-
end to facilitate an earlier than usual
starting time because of the large number
of subjects to be considered.

Screenings of eligible cartoon short sub-
jects will be held Monday (8) night.

Dr Pepper's J. B. O'Hara Dies

DALLAS — J. B. O’Hara, 77, board chair-
man of Dr Pepper Co., died at his Dallas
home December 30 from a long-standing
heart ailment.

As a Film Producer

HOLLYWOOD — Alvin K. Bubis, young
independent producer from a Nashville
showbusiness family, makes his debut in
the feature film sweepstakes with “The
Devil’s Hand,” starring Linda Christian,
Robert Alda and Ariadne Welter, leading
Mexican motion picture star and Miss
Christian’s sister, which will be given a
multiple opening in about 20 theatres in
the southern California area on January
10 .

Bubis states that he received consider-
able assistance in his first film production
from Joe Pasternak, MGM producer. Ex-
teriors for the film were shot on the MGM
backlot, on space rented for the purpose,
with interiors filmed in other Hollywood
studios presenting suitable facilities.

The story is that of a voodoo worship-
ping cult secretly operating in a big city,
with Miss Christian as the reincarnation
of the cult’s love goddess. Considerable
novelty is supplied in the revelations of the
cult’s operations and a fiery and exciting
climax.

Bubis, west coast coordinator for the
Shapiro-Bernstein music publishing com-
pany, plans production of at least two the-
atrical features a year, permitted to him
under his arrangement with Shapiro-
Bernstein. He also plans development of
promising young singers from the record-
ing field for feature picture production, in
the manner that Sinatra, Crosby, Dean
Martin, Elvis Presley, Bobby Darin and
others were recruited from the poplar disc
field.

“The Devil’s Hand” is being put into na-
tional release by Crown International Pic-
tures, with home offices in Los Angeles un-
der N. P. “Red” Jacobs’ personal super-
vision.

H. C. "Jim' Cox Resigns
From National Theatres

LOS ANGELES— H. C. “Jim” Cox is the
latest executive to resign from National
Theatres and Television, with March set
as the wind-up of his duties with the
company. He will remain an additional
three months as a consultant on Cine-
miracle, at which time the sale of the pro-
cess to Cinerama is expected to be com-
pleted.

Russell and Swartz Named
Astor Franchise Holders

NEW YORK — Astor Pictures has ap-
pointed two new franchise distributors in
midwest areas. Kermit Russell of Russell
Films, Inc., will handle the Chicago and
Milwaukee territories. Abbott Swartz of In-
dependent Film Distributors, Minneapolis,
will handle Minneapolis, Des Moines and
Kansas City areas.

Nine Para. Features Set to Roll

HOLLYWOOD — During the first four
months of this year, nine feature produc-
tions are slated to roll at Paramount. The
films include “Who’s Got the Action,” “My
Six Loves,” “The Jackals,” “The Hook” and
“The Second Mrs. Ashland,” plus an as yet
untitled circus yam to be produced by Phil
Yordan and Nicholas Ray.

BOXOFFICE :: January 8, 1962

Universal’s Flower Drum Song’ Wins
December Blue Ribbon Award

By VELMA WEST SYKES

RATIONAL Screen Council members have chosen Ross Hunter’s romantic musical
comedy, “Flower Drum Song,” as the December Blue Ribbon Award winner.
Unusual and haunting music by Rodgers and Hammerstein, a glamorous, oriental
cast tell the tender love story in exotic San Franciscan Chinatown settings. Its
choice as both outstanding and suitable for whole family entertainment is a tribute to
the skill with which director Henry Koster handled the problems which arise between
the generations in many phases of family life.

A young college Sophomore was with
me at the screening and was entranced by
it and expressed the wish that more pic-
tures were geared to young dating couples
who are often distressed, bored or even
embarrassed by some of the sordid pic-
tures now playing. The picture has already
started playing in key cities and has
chalked up a score of 215 at the boxoffice.
Our Boxoffice review which appeared in
the issue of November 20, 1961 said in
part: “Here is one of those rare photo-
plays that has been fashioned with the
exquisiteness of a delicate cameo without
jeopardizing its commercial potentialities,
and it also remains to be said that if
ticket-buyers fail to line up in SRO num-
bers before boxoffices of any theatre
booking the film, Hollywood might as well
decide the public has no appreciation of
screen entertainment at its ultimate
best.”

NSC members said of it in commenting
on their ballots:

“Flower Drum Song” is a beautiful
production, better than the original stage
version. — Dr. James K. Loutzenhiser, U.S.
Public Health Service, Kansas City ... A
beautiful musical with songs by Rodgers
and Hammerstein and a screenplay well
produced for all patrons. — Mrs. Arretus
F. Burt, G.F.W.C. and Metropolitan
Church Federation, St. Louis, Mo.

“Flower Drum Song” could be the re-
birth of the family musicals. I hope it is
for it is very gay and amusing. — Anna
Belle Miller, WOMPI, Denver ... At last
an easy choice for the entire family! —
Elston Brooks, Fort Worth Star-Telegram
. . . Fine performances, good music, de-
lightful and entertaining for all the
family. — Mrs. Edward C. Wakelam, Indi-

anapolis NSC group.

The dream sequence in “Flower Drum
Song” was out of this world. — Jeanette
Mazurki, Glendale (Calif.) News Press . . .
This is fine picture-making. — Allen M.
Widem, Hartford Times ... It was the
most popular here. All liked it. — Mrs.
Lillian O. Cuthbert, Masonic Homes,
Elizabethtown, Pa.

No question about it this month — it’s
“Flower Drum Song.” — Glenn Hime-
baugh, Canton (Ohio) Repository . . .
Fine, wholesome entertainment and en-
tertaining fun for the whole family. —
Mrs. Jack Windheim, Larchmont-Mama-
roneck (N.Y.) Motion Picture Council.

“Flower Drum Song” is entertainment
plus. — A. B. Covey, Alabama Theatres
Ass’n . . . This is a terrific picture. — Leo
Dean, Parents Magazine . . . The out-
standing musical of the year and suitable
for family. — Valentine Wells, Milwaukee
Motion Picture Commission.

“Flower Drum Song” is a gay and color-
ful musical, joyously entertaining. It has
a love story to be enjoyed by everyone. —
Mrs. Virginia Rollwage Collier, District of
Columbia MP & TV Council.

I choose “Flower Drum Song” and think
musicals of this kind can score come-
backs. — Wayne Allen, Springfield (111.)
Journal Register . . . Boxoffice reviewers
should start looking at some of these
pictures through the eyes of a teenager.
— Mrs. George Friman, president, San
Francisco MP & TV Council.

For my family this month it was
“Flower Drum Song.” — Mrs. Frederic H.
Steele, G.F.W.C., Huntingdon, Pa. . . .
This is an excellent picture made from
a fine play. — Mrs. Ethel Conrad, National
Grandmothers Club, Cleveland.

The Cast

Linda Low

Wang Ta

Mei Li

Auntie (Madame Liang)

Sammy Fong

Wang Chi- Yang

Helen Chao

Wang San

Dr. Li

Frankie Wing

Nancy Kwan

James Shigeta

.. Miyoshi Umeki

Juanita Hall

Jack Soo

Benson Fong

Reiko Sato

. Patrick Adiarte

Kam Tong

Victor Sen Yung

Madame Fong

Professor

Headwaiter

Dr. Chon

Dr. Fong

Policeman

Holdup Man

San’s Girl Friend
San’s Girl Friend

Soo Yong

Ching Wah Lee

James Hong

.. Spencer Chan
.... Arthur Song

Weaver Levy

. Herman Rudin
Cherylene Lee
Virginia Lee

Production Staff

Executive Producer Edward Muhl

Produced by Ross Hunter

Directed by Henry Koster

Screenplay by Joseph Fields

Based on the Novel by C. Y. Lee

Music supervised and conducted by

Alfred Newman

Director of Photography

Russell Metty, A.S.C.

Unit Production Manager
Norman Deming

Art Directors Alexander Golitzen,

Joseph Wright

Film Editor Milton Carruth, A.C.E.

Set Decorator Howard Bristol

Sound Waldon O. Watson,

Joe Lapis

Costume Designer Irene Sharaff

Make-Up Bud Westmore

Based on the Broadway hit by

Rodgers and Hammerstein-Fields

In Panavision and Color

fiiiiiiiiiiiimimimmmiiiiiiimimiiiiiimimimm

PICTURE BRIDE MEI LI (MIYOSHI UMEKI) AND HER
FATHER, DR. LI (KAM TONG) SLIP INTO AMERICA

LINDA LOW (NANCY KWAN) IS NOT HAPPY ABOUT THE
TURN OF EVENTS WHEN SHE APPEARS IN THIS SCENE

WANG CHI-YANG (BENSON FONG) DISAPPROVES AUNTIE
(JUANITA HALL) JOINING SAMMY FONG (JACK SOO)

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIHI

This award is given each month by the
National Screen Council on the basis of out-
standng merit and suitability for family
entertainment. Council membership comprises
motion picture editors, radio and TV film
commentators, representatives of better films
councils, civic, educational and exhibitor or-
ganizations.

'rtyMtftvcod ^cfront

By WILLIAM HEBERT

Three U-I Features Based
On Best-Selling Novels

Helping to assure a ready-made audience
for the completed films, the first three
pictures U-I has slated to roll this year
are all based on best-selling novels.

Tops in the trio is “To Kill a Mocking-
bird,” which Alan Pakula and Robert
Mulligan are bringing to the screen with
Gregory Peck in the starring role. The
book by Harper Lee was chosen by four
major book clubs and also won the 1961
Pulitzer Prize.

“The Ugly American,” being produced
and directed by George Englund, starring
Marlon Brando, is based on the tome by
William J. Lederer and Eugene Burdick
that found its way on best-seller lists for
more than a year and a half in addition
to being serialized by the Saturday Evening
Post.

Ross Hunter’s production of “If a Man
Answers,” to topline Sandra Dee and Bobby
Darin, is based on Winifred Wolfe’s novel
and was purchased by U-I in manuscript
form, before it hit the best seller lists
following its publication.

Frederick Brisson to Start
'Under the Yum Yum Tree'

Producer Frederick Brisson has checked
into his Columbia studio offices to begin
preparation on “Under the Yum Yum
Tree,” his forthcoming production for re-
lease by the Gower St. company.

The picture is slated to roll this summer,
with Lawrence Roman, who wrote the
Broadway version of Brisson’s stage
presentation, currently preparing the
script.

Release plans for Brisson’s production
of “Five Finger Exercise,” starring Rosa-
lind Russell, Jack Hawkins, Maximilian
Schell and Richard Beymer, are in the
discussion stage at Columbia.

Jimmy Durante, Martha Raye
Star in 'Billy Rose's Jumbo'

Following a combined 25-year hiatus
from theatrical films, Jimmy Durante and
Martha Raye returned to the picture fold
this month to essay starring roles in “Billy
Rose’s Jumbo” at MGM.

Durante last appeared in “The Milkman”
in 1950, while Miss Raye’s last stint before
the cameras was in “Monsieur Verdoux,”
with Charles Chaplin in 1947.

In “Jumbo,” Jimmy plays Top Wonder,
owner of the Wonder Circus, with Martha
performing as Madame Lulu in the three-
ring spectacular.

John Shelton, Bernard Pincus
To Produce in India

United Theatre Service has been formed
by John Shelton and Bernard Pincus to
produce feature films in India with Ameri-
can stars and directors. Initial production
on the new company’s schedule reportedly
will be “Maharaja,” a George Marshall
production from the book by Polan Banks.

In the discussion stage is “Silver Nut-

meg,” owned by producer-director David
Miller, and a film version of “Christine,”
Pearl S. Buck-Sammy Fain musical pre-
sented on Broadway last year starring
Maureen O’Hara.

Mirisch Co. and Project III
To Coproduce 'Great Race'

A project titled “The Great Race” is
being jointly developed by the Mirisch Co.
and Project III, independent production
outfit headed by Blake Edwards, Freddie
Fields, David Begelman and John Fore-
man. The film, not included in the four-
picture pact recently set between the two
companies, concerns the 1901 auto race
from New York to Paris via Asia.

Arthur Ross has been signed to write the
script, with Edwards reportedly set to
direct and possibly coproduce.

Jack Benny to Do Guest Stint
In 'Gypsy' for Warners

Because of his longtime friendship with
producer-director Mervyn LeRoy, Jack
Benny has agreed to do a guest stint in
Warner Bros.’ “Gypsy.” The comic will do
a three-minute sketch, plus violin, and has
waived billing so that the act will come as a
surprise to audiences.

The production goes before the Techni-
color cameras later this month with Rosa-
lind Russell, Natalie Wood and Karl Malden
starred.

Jack Lord to Star in 'Dr. No'
For Broccoli and Saltzman

Jack Lord has been signed to star in
“Dr. No,” which Albert “Cubby” Broccoli
and Harry Saltzman will produce as the
first of their new seven-picture deal with
United Artists.

The film, based on the novel by Ian
Fleming with screenplay by Wolfe Manko-
witz, will be lensed on location in Jamaica.
Terrence Young has been set to direct.

PRESTIGE GATHERING— Attend-
ing one of the holiday seasons high-
lights were the above guests pictured
at the world premiere of “A Majority
of One” at the Village Theatre, West-
wood. Left to right, Producer Freder-
ick Brisson; Mervyn LeRoy, producer-
director of the film; cast topliner
Rosalind Russell, and Mrs. LeRoy.

Pathe-America to Produce
12-18 Features in 1962

Pathe-America has revealed plans to
produce from 12 to 18 theatrical
features during the coming year, with
an estimated $5,000,000 to be spent in
bringing the properties to the screen.

The company helped finance 17 in-
dependent pictures in 1961, nine of
which were made in this country, in-
cluding “Fear No More,” “Five Minutes
to Live,” “Run Across the River,”
“Force of Impulse,” “The Intruder,”
“Night of Evil” and “Paradise Alley.”
The majority of this product will be
released after February.

Although Pathe-America has been
releasing through Universal-Inter-
national exchanges, no distribution has
been set for the above 17 photoplays
to date.

James Clavell to Produce
Feature in Vancouver

James Clavell, whose credits include pro-
duction of “Walk Like a Dragon” for Para-
mount, and writer-director of 20th-Fox’s
“The Fly” and “Five Gates to Hell,” will
cross the border into Canada for his next
motion picture projects.

Panorama Films, Ltd., currently building
the Hollyburn Studio in Vancouver, has
pacted Clavell to write, direct and produce
“Circle of Greed,” on the drawing boards
for an April start, and “The Bitter and
the Sweet,” slated to roll in June. No
distribution deal has been set as yet for the
duo.

According to Clavell, the major part of
casting on the two films will be done in
Hollywood, using as much American-
citizen talent and as many American
craftsmen as possible.

Nancy Kwan, Alain Delon Star
In 'Meet Me in Monte Carlo'

“Meet Me in Monte Carlo,” Seven Arts
film musical slated to go before the
cameras in Monte Carlo next summer, will
have Nancy Kwan and Alain Delon in the
top roles. Both stars are under contract
to Seven Arts.

Prior to “Monte Carlo,” Miss Kwan vail
topline “The Main Attraction” in England,
costarring Pat Boone, while Delon will
first wind “The Adventures of Marco Polo,”
blueprinted for a January 27 start in Spain
as a coproduction with Raoul Levy.

Billy Halop Signed for Role
In 'Boys' Night Out'

Marking his first motion picture appear-
ance in three years, Billy Halop, one of
the original “Dead End Kids,” has been
inked by producer Martin Ransohoff for
a feature role in “Boys’ Night Out,” Kim
Novak, James Garner and Tony Randall
costarrer at MGM which Michael Gordon
helms.

Halop will portray a wisecracking eleva-
tor boy in the Kimco-Filmways picture in
association with Joseph E. Levine’s Em-
bassy Pictures.

BOXOFFICE :: January 8, 1962

By ANTHONY GRUNER

15 U. S., Foreign Houses
Install New Projectors

NEW YORK — New 70/35mm Norelco
projectors were installed in 13 domestic
and two foreign theatres in recent months
by North American Philips dealers.

Installations were made in the new
Cheltenham Theatre, Cheltenham, Pa., the
new North Star Drive-In, Denver, Colo.; in
the remodeled Mann, Minneapolis; Allen,
Cleveland; Warner, Erie, Pa.; Warners
Hollywood, Hollywood, and Beverly Hills,
Beverly Hills, Calif.

The 70/35mm projectors also were pur-
chased by Grauman’s Chinese, Hollywood;
Music Hall, Detroit; Criterion, Oklahoma
City; Dundee, Omaha; Southeast, Salt
Lake City, and Delman, Houston.

Foreign installations were made at the
Universal, Manila, and the Royalty in Lon-
don, England.

Jaediker Retires from UA;
Art Director for 30 Years

NEW YORK — Herbert Jaediker, art di-
rector for United Artists, retired last week
after almost 30 years of service with the
company.

Jaediker, a native New Yorker, entered
the film industry in 1915 as art director of
Fox Film Corp., a post he held for 12 years.
During the next four years, 1927 to 1931,
he operated on a free lance basis, with
United Artists a major account. In 1931,
he teamed up with George Harvey in the
Harvey- Jaediker Art Service and, a year
later, he joined UA, assuming the post of
art director which he held until his retire-
ment.

After a vacation, Jaediker will pursue his
hobby of painting.

Konrad Bercovici Dies;
Writer of Scenarios

NEW YORK — Funeral services for Kon-
rad Bercovici, 80, Romanian-born author
who wrote many scenarios in Hollywood
in the late 1920s, including “The Volga
Boatman” for Cecil B. DeMille, were held
at Cooke’s Funeral Home December 29.
Bercovici died at his home here December
27.

Bercovici, the author of 40 books, wrote
the scenario for Charlie Chaplin’s first
talking film, “The Great Dictator” in 1940,
but he later sued the comedian for $6,-
450,000, claiming he had stolen the story.
The case was finally settled out-of-court
for $95,000.

Rank Expanding Bowling
In the United Kingdom

NEW YORK — Top Rank Bowling, Ltd., a
subsidiary of the Rank Organization, has
signed a contract with AMF, Ltd., of Lon-
don, a subsidiary of the American Machine
& Foundry Co., to equip new bowling cen-
ters throughout the United Kingdom.

The new centers, with a total of 200
lanes, will be outfitted with AMF Auto-
matic Pinspotters and allied bowling equip-
ment. Deal involves more than $2,800,000,
according to AMF.

AMF has installed or on order a total
of 988 pinspotters in 73 bowling centers
throughout the United Kingdom.

A s 1961 came to an end, the film industry
totted up its assets and debits and saw
that on the whole it hadn’t been too bad a
year for business. The abolition of the
entertainment tax had enabled many ex-
hibitors to stabilize their position ; to spend
a little money on refurbishing their the-
atres and to note that the anticipated de-
cline in overall attendances had not taken
place. In the case of the major circuits
— ABC, Rank and Granada — a slight in-
crease in attendances took place.

The exhibitors also found that it paid to
diversify their interests and 1961 saw the
arrival of the most profitable diversifica-
tion, namely, bingo. Whether or not bingo
becomes a six-month’s fad, it cannot be
denied that the game brought thousands
of people back into the habit of visiting
cinemas. Nevertheless, there was little
proof that these patrons, who sometimes
spent as much as 10 to 12 dollars per week,
were prepared to spend one dollar a week
at their local cinema for film entertain-
ment, unless the motion picture was some-
thing special. Thus, 1961 saw the British
patron fully prepared to go to the pictures,
but in a selective fashion.

This had its effect on the boxoffice pic-
ture throughout the country. The big, pop-
ular films did fantastic business, the out-
standing films with a gimmick or some-
thing new to say enjoyed relatively good
profits. But the average picture, whether
American or British, died a cold death in
hundreds of theatres throughout the
United Kingdom.

What were the most successful boxoffice
films? The most stupendous grosser of the
year was “The Guns of Navarone,” which
on a hard-selling extended playing time
two-shows-a-day policy, passed the half-
million pound bracket. “Guns” had yet to
go into general release and already it had
taken more money than the fabulous
“The Bridge on the River Kwai.” Carl Fore-
man and Columbia had a great blockbuster
on their hands which was sold with con-
siderable ingenuity and enthusiasm by the
distributor.

A giant in equal strength was Walt Dis-
ney’s British-made “Swiss Family Robin-
son,” which was the highest grossing film
in general release. The Disney organiza-
tion, as previously reported, was without
doubt the company with the most con-
sistent lineup of outstanding boxoffice
pictures and, great as the returns were for
“Swiss Family Robinson,” “The Parent
Trap,” with Hayley Mills, looked like it
would beat the take by the time it has
finished its general release.

There were two big money makers in
this top league: “The Magnificent Seven,”
the United Artists western, with Yul
Brynner, and “Saturday Night and Sunday
Morning,” with Albert Finney. There was
little to choose between them, but the
former possibly scraped through and en-
joyed a magnificent run at the Rank
theatres.

The Rank circuit had a reasonable slice
of the year’s boxoffice winners, playing
“The Guns,” “Swiss Family Robinson,”
“The Magnificent Seven” and the following
big scorers, “The World of Suzy Wong,” the

Ray Stark production for Paramount; and
“G.I. Blues,” the Hal Wallis production
with Elvis Presley; “Whistle Down the
Wind,” the Rank production with Hayley
Mills; “Very Important Person,” the Leslie
Parkyn, Julian Wintle production for Rank,
and “The Grass Is Greener,” the Stanley
Donen comedy for Universal -International.

Two hard-ticket big ones earned big
money: “Exodus,” Otto Preminger’s saga of
Israel, released by United Artists, and “The
Alamo,” John Wayne’s gargantuan his-
toric western, also released by UA. ABC
showed “Saturday Night and Sunday
Morning” and the following boxoffice suc-
cesses, “The Sundowners,” the Fred Zinne-
man production set in Australia; “A Taste
of Honey,” an outstanding realistic drama,
produced and directed by Tony Richard-
son (a member of the Bryanston group of
producers) “Carry On Regardless,” the
Peter Rogers comedy series now in its fifth
year.

Rogers was one of the few producers who
for three years running had found his fea-
tures among the top ten of the boxoffice
films. The 1960 winner was “Carry On,
Constable,” and the 1959 winner was
“Carry On, Nurse.” Sir Michael Balcon’s
production, with Laurence Harvey, “The
Long and the Short and the Tall” and
“Payroll,” the Parkyn, Wintle production
for Anglo-Amalgamated, and “The Rebel,”
the Associated British picture, with
comedian Tony Hancock, all did well for
ABC and their respective production com-
panies. The pictures mentioned in this list
derive their grosses mainly from the ABC
or Rank Releasing Circuit. A few of these
productions might have made more im-
pact and earned more revenue if they
hadn’t had to earn their keep on what the
industry now calls the Thrid Release. This
grouping together of independent theatres
plus some Rank cinemas makes the circuit,
in theory, about equal in size to the other
two circuits but not in earning capacity.
There were signs that this Third Release
pattern would have considerable changes
in its operation and its membership during
the next year.

Production by the end of 1961 appeared
to be steady, with the British companies
making great efforts on the whole to sus-
tain the previous year’s lineup of pro-
ducts. On the assumption that Hollywood
would hardly increase its own quota of
home-produced motion pictures, British
distributors and producers like Associated
British, British Lion, Anglo-Amalgamated,
Hammer Films, Regal and Rank were
looking towards the Continent with a view
to increasing coproduction with individual
European countries and making an inten-
sive drive to exploit the markets from a
film-selling point of view. The current dis-
cussions about the Common Market gave
point and emphasis to this orientation of
the British industry.

What were the signs for the future?
Most propitious. There was a genuine feel-
ing that earnings in Britain would be
higher during the next 12 months. Prac-
tically all companies, without exception,
had first-class products on their hands and
optimism appeared to be genuine.

BOXOFFICE January 8, 1962

BOXOFFICE BAROMETER

mmm

„ 1

o Hi

CC &
UJ

| Ada (MGM)

125

175

105

130

150

125

185

150

125

300

100

125

140

133

H Armored Command (AA)

100

125

100

200

130

100

105

ii Babes in Toyland (BV)

150

175

300

175

160

315

160

150

275

185

175

140

197

jg Blue Hawaii (Petra)

180

300

200

110

130

290

130

250

350

300

100

130

145

200

210

221

§| Carry On, Constable (Governor)

150

170

120

105

200

310

165

240

100

173

|| Cold Wind in August, A (Aidart)

140

300

175

150

175

100

164

Devil at 4 O'Clock, The (Col)

130

250

200

225

210

160

150

180

205

100

150

200

120

175

140

200

180

: Don Quixote (MGM)

140

165

125

175

200

161

■ '• Errand Boy, The (Para)

140

150

300

110

240

120

135

120

164

|| Fabulous World of Jules Verne (WB)

100

120

105

110

125

100

105

115

103

j|| Flight That Disappeared, The (UA)

100

!§j Flower Drum Song (U-I)

175

200

160

425

290

150

180

190

165

215

| Girl With a Suitcase (Ellis)

125

130

100

130

100

115

200

119

Ii Greyfriars Bobby (BV)

120

200

130

150

100

110

275

125

135

235

100

175

160

120

139

i| House of Fright (AIP)

100

150

130

100

130

103

jig Hustler, The (20th-Fox)

170

275

130

185

130

200

100

275

175

180

125

150

120

195

120

150

130

100

159

Invasion Quartet (MGM)

135

100

125

100

106

§5 King of Kings (MGM)

180

275

200

230

200

110

240

450

395

120

195

236

Magic Boy (MGM)

100

h Mark. The (Cont'l)

150

175

165

120

105

125

180

143

Mask, The (WB)

120

125

120

125

100

115

145

150

107

Mr. Sardonicus (Col)

140

225

125

100

105

135

120

150

100

112

Mysterious Island (Col)

125

150

175

115

225

240

175

154

| Pocketful of Miracles (UA)

175

230

120

150

200

100

175

165

164

| Paris Blues (UA)

130

250

120

215

150

125

200

135

180

135

100

150

130

195

135

125

250

200

163

i Pure Hell of St. Trinian's, The (Cont'l)

150

170

100

120

135

200

139

| Purple Hills, The (20th-Fox)

100

92 j

| Purple Noon (Times)

150

200

130

225

155 I

jj| Question 7 (de Rochemont)

150

145

105

100

215

155

200

150

105

175

140

115

100

139 j

§| Romanoff and Juliet (U-I)

175

125

170

120

125

120

150

275

200

100

175

125

300

150 j

|| Royal Ballet, The (Lopert)

120

155

140

150

225

150

100

150

130

138 j

f§ Secret Partner, The (MGM)

130

165

100

125

100

98 i

|f Secret Ways, The (U-I)

100

120

135

95 l

ij| Secrets of Woman (Janus)

140

105

145

105

200

250

148 j

|f 7 Women From Hell (20th-Fox)

140

130

135

110

105

125

160

150

100

125

112 l

P Susan Slade (WB)

140

175

120

100

180

120

200

210

205

200

150

125

135

195

200

175

162 1

% Thunder of Drums, A (MGM)

100

125

175

100

125

100

120

125

120

150

114 f

H Truth, The (Kingsley)

175

300

175

300

230

125

135

150

250

200

175

190

177 }

il Twenty Plus Two (AA)

125

100

120

100 |

H Twist Around the Clock (Col)

120

115

100

125

105 ii

|f Weekend With Lulu, A (Col)

175

145

100

150

100

124 |

P Wonders of Aladdin, The (MGM)

100

135

100

195

117 £

till

W8M

TOP HITS

THE WEEK

Individual runs, not an average.
Listings are confined to opening
week figures on new releases only.

1. Flower Drum Song (U-l)

Kansas City 425

Los Angeles 290

Chicago 265

2. Babes in Toyland (BV)

Kansas City 315

Chicago 300

3. El Cid (AA)

Los Angeles 285

Cincinnati 250

4. Second Time Around, The (20th-Fox)

Denver 260

5. Errand Boy, The (Para)

Denver 240

6. Pocketful of Miracles (UA)

Chicago 230

Kansas City 200

7. Mysterious Island (Col)

Indianapolis 225

/■/A/CO/. A/

fjomer Hotchkiss is missing from the Var-
sity Theatre’s projection room, and he
and his wife are the envy of all his snow-
surrounded projectionist union friends in
Lincoln. After more than 40 years as an
operator at the Varsity, Homer retired
and he and Mrs. Hotchkiss went south to
Florida for the winter. Tony Polanka, the
other Varsity projectionist, now has for-
mer fill-in Dale Mace as his regular booth
partner.

Ted Grant, Starview Drive-In manager,
and wife planned to go to Kansas City for
the holidays but the snowstorm and
treacherous highways reversed their deci-
sion in favor of Christmas and New Year’s
at home. Ted still is taking his month’s va-
cation and Kansas City is on schedule after
the first of the year . . . Robert Kassebaum,
filling in for Ted at the Starview, reports
crowds generally good for the holiday
nightly shows. But temperatures made cof-
fee and hot chocolate the most popular
intermission buys. The Starview went back
to a weekend winter schedule after New
Year’s day.

Walt Jancke is still talking about the
good manners and unusual demonstration
of appreciation from teenage girls attend-
ing the special Starlet Circle show at the
Varsity under Gold & Co. sponsorship. The
some 300 young teenagers apparently liked
“A Pocketful of Miracles” for Walt says
they spontaneously burst into applause as
the picture ended. Candy canes given the
girls helped put the teenagers into the
holiday mood.

Dan Flanagan, 84th and O Drive-In
manager, still was on the sick list but he
got home with his family for the holidays.
Also home to swap Navy yarns with his
dad was Dan Flanagan jr., stationed on
the USS Hood at Boston. The senior Dan
will go back to Lincoln Veterans Hospital
about January 10 when he hopes to ex-
change a cast on a ruptured disc for a
brace. Dan underwent surgery for a back
injury. Still filling in at the 84th and O
Drive-In for the winter weekend schedule
is owner Russell Brehm.

Former Lincolnites Mr. and Mrs. Clay-
ton Cheever were back home for part of
the holidays visiting with family members.
Clayton, formerly with the Varsity, now
manages the Mesa Theatre in Grand
Junction, Colo.

DES MOINES

Jt was Auld Lang Syne with a steady beat
New Year’s Eve at the Orpheum. “Hey,
Let’s” you know what was on the screen
and live twisters were on stage in the fi-
nals of a twist contest emceed by Dick
Vance, KSO disc jockey . . . Theatregoers
were urged to make it a New Year’s Eve
weekend at the Des Moines and Paramount.
Both ran noon through midnight shows on
the 30th and 31st.

Don Horton leased the Strand at Mount
Vernon and took over January 1 from Mr.
and Mrs. Lawrence West who are on a
year’s leave of absence . . . The Lux at
Bridgewater, which is operated by the

Chamber of Commerce, closed in mid-
December and will reopen come spring.

Dave Gold reports on 20th-Fox’s drive
honoring President Spyros Skouras, which
began January 1 and runs through March
31. Plans for the event were announced
via a telephone conference from the home
office with all branches in the U. S. on
the hookup . . . Stan Soderberg, 20th-Fox
salesman, was in Minneapolis where his
father was ill . . . Ed Cohen and Jim Rick-
etts, Columbia salesmen, were in Des
Moines for a meeting . . . Carol Butler, Tri-
States bookkeeping, flashed a Christmas
diamond . . . MGM’s holiday party was
December 30 at the Latin King.

MINNEAPOLIS

pioneer Theatres took over operation of
the American at Cherokee, Iowa, Sun-
day (7), it was announced by Don Smith,
general manager. Pioneer also operates the
Arrow Theatre and Corral Drive-In at
Cherokee. The American formerly was
operated by Mr. and Mrs. Dale R. Goldie.
Goldie recently was elected mayor of
Cherokee and took office January 1.

A1 Harris, 50, projectionist at the Century
Cinerama Theatre, died December 24 fol-
lowing surgery. Harris had been a projec-
tionist in Minneapolis theatres for many
years and at one time worked at the old
Pix Theatre . . . Bob Thill, house manager
of the State Theatre, vacationed in Chi-
cago, where he saw “Sound of Music” and
“Bye, Bye, Birdie.”

Wallace J. Yutzy, projectionist at the
State, has been elected business agent of
local 219, motion picture operators union
... In a cutback of the sales foi’ce at Co-
lumbia, Bob Branton is back in his former
job as booker and Larry Bigelow has been
named contract clerk . . . Most salesmen
at the film exchanges were in town during
the two-week holiday period.

Harold Field, president of Pioneer The-
atres, was in Los Angeles on business . . .
Several downtown theatres had midnight
shows both Saturday and Sunday of the
New Year’s weekend to capitalize on the
two-night observance of the holiday . . .
Opening of the WW Theatre at East Grand
Forks has been delayed until the middle of
the month. The house was slated to reopen
January 1.

Mrs. E. A. Moe, wife of the onetime
owner of the Grand Theatre at Oakes,
N.D., passed away December 22. She had
been hospitalized for some time. Her son-
in-law, Ken Brossman, now operates the
theatre. The house has been in operation
since 1918 . . . Exhibitors on the Row: Tom
Novak, Glencoe; Mike DeFea, Milbank,
S.D.; Bernard Bjerkness, Gonvick; Jim
Fraser. Red Wing; Ernie Schweigerdt, Mil-
ler, S. D., and Eddie McAlpine, Maple Lake
and Monticello.

Ted Cain Is Promoted

HOLLYWOOD — Twentieth-Fox produc-
tion head Peter G. Levathes has announced
the promotion of Ted Cain from business-
manager of the motion picture music de-
partment, to director of music affairs, a
new post. The status of Lionel Newman as
music director of 20th-Fox television films
is unaffected.

OMAHA

£)on Shane, city manager for Tri-States
Theatres, promoted Mike Geater from
assistant manager of the Omaha The-
atre to Shane’s chief assistant at the
Orpheum. Mike came to Omaha from the
Paramount Theatre, a Tri-States situation
at Waterloo, Iowa. Charles Deats has been
named assistant to Carl Hoffman at the
Omaha . . . Shirley Pitts, United Artists
cashier, took her vacation during the holi-
days and enjoyed the time with daughters
Sharon and Linda, home on vacation from
Oklahoma State University.

Dorothy Weaver, assistant cashier at
20th-Fox, was the envy of Filmrowers. She
took the remainder of her vacation to
escape snowbound Omaha and fly to Las
Vegas and visit her cousin, Monica John-
son, and Hazel Heeren, former Omahan
. . . John Dugan, United Artists city man-
ager, spent the holidays with his family,
who still are at the Dugan home in Kansas
City.

Kenneth Shipley, manager of the Central
States circuit’s Empress and Fremont the-
atres at Fremont, Neb., had a part in
boosting the fund for young Roger Lewis,
who was orphaned last October when his
stepfather, mother, sister and four broth-
ers were killed in a car-truck crash on the
outskirts of Fremont. Shipley is president
of the Fremont Shrine Club which took a
collection amounting to $736.65 to add to
the Roger Lewis trust fund, which is nearing
the $10,000 mark. The Shrine collection
was turned over to the Fremont Guide and
Tribune by Shipley and A. E. Ruser,
potentate of the Tangier Temple.

'The Night' Is U.S. Title

NEW YORK— “The Night,” the English
equivalent of Michelangelo Antonioni’s
prize-winning Italian film, “La Notte,” will
be the release title in the U.S., according to
Lopert Pictures, which is distributing in
America. The picture, which stars Jeanne
Moreau, Marcello Mastroianni and Monica
Vitta, will have its American opening at
the Fine Arts Theatre, Manhattan early
in 1962.

HERE'S HOW . . .

TO MAKE MORE MONEY

Pull 'em in to your theatre.

Bring 'em to the concession stand with
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BOXOFFICE :: January 8, 1962

NC-1

A Filmrow Storm Refugee Enters
Hospital as Preventive Patient!

DES MOINES — To Buck Manbeck goes
Filmrow ’s 1961 "Man of the Year in a
Snowstorm" award. When the big storm
hit December 22, Buck was caught near
12th and High without galoshes and in a
stalled car. Rather than sit out the stormy
night in some uncomfortable bar or other
emergency shelter, he trudged up the hill
to Iowa Methodist Hospital, talked his way
into being admitted as a healthy patient,
and from his cozy room let the snowflakes
fall where they may. At first, the hospital
informed the hale and hearty Manbeck
they weren’t running a motel and couldn’t
admit "just anybody.” A phone call from
Buck to his physician confirmed that this
could be classified as "preventive medi-
cine.” After all, he didn’t have his gal-
oshes! Two days later and still healthy,
Buck paid his bill at the desk and went
home for Christmas.

Don Bloxham of Iowa United Theatres
slept out the storm in style, too, but at
lower than hospital rates at Hotel Fort
Des Moines . . . Bill Lyons, Columbia of-
fice manager, and family live at Norwalk
and en route there he took refuge in a
farm home, along with more than a score
of other stranded motorists who didn’t
quite get where they were going that night.

Art Thiele of Des Moines Theatre Sup-
ply almost made it home. He battled drifts
all the way out Fleur drive to his neigh-
bor’s driveway and, alas too weary to
shovel his own, he put up for the night
with the folks next door . . . Janice Cowart
of Central States accounting was wed the
day after the big storm. The bride and
groom were present for the “I do’s,” but
because of impassable roadways there were
stand-ins for Janice’s father and the best

YOUR

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WITH.

BRIGHTER

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Call or write
your nearby
N.T.S. branch . . .

NATIONAL

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Projection

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KANSAS CITY 8, MO.

223 W. 18th Street

MILWAUKEE 3, WIS.

1027 N. 8th Street

MINNEAPOLIS 3. MINN.

56 Glenwood Avenue

NATIONAL THEATRE SUPPLY COMPANY

man . . . Numbered among the snowbound
was Glen Doherty, manager of the Para-
mount, where an emergency all-night
storm shelter had been set up. Doherty
was stranded at home; so Tony Abramo-
vich. manager of the Des Moines, watched
over the flocks at Doherty’s theatre, too.

Many who planned to spend the holiday
weekend away from Des Moines were dis-
appointed. Like Edna Cloonen of Iowa
United who headed for Illinois, but got
only as far as Mitchellville when she was
forced to turn back . . . Ruby St. Clair of
Tri-States was another who had to stay
put . . . The building at 1300 High St.
housed some overnight guests who were
marooned in United Artists and 20th Cen-
tury-Fox offices.

It doesn’t cost much to heat a drive-in,
but the shoveling costs can be staggering
— $1,500 to $2,000 for just one snowfall
. . . As of January 1, Lloyd Hirstine was
keeping a close eye on the long-range
forecasts before plowing out and reopen-
ing the Capitol Drive-In . . . Bulldozers
got the Pioneer back in operation after a
week ... All in all, it was quite a snow.

MILWAUKEE

^/blmer Dahlstrand was re-elected presi-
dent of Local 8 of the American Fed-
eration of Musicians. Other officers elected
by the 2,700-member unit are: Roland
Wussow, vice-president; Harold Olsen, sec-
retary; Ernst Strudell, treasurer; Alex
Mayr, trustee for three years; Arthur Ue-
belacker, sergeant at arms; Robert Couey,
Phillip DiMeo, Hilma Kelbe, Russell Mund,
Walter Strassburger and George Stude, to
the executive board.

Theatre managers in this area went
strong on promotions for the Christmas
holidays, and wound up with some mighty
important results. For example, the River-
side’s Johnny McKay netted a full page
with color in the Journal, and a half page
in the Sentinel on “Babes in Toyland.”
Joe Reynolds at the Towne, had a half
page in both the Sentinel and the Journal
on “Flower Drum Song.” Harry Boesel,
Wisconsin, reported a pictorial review in
the Sentinel on “A Pocketful of Miracles.”
Milt Harman, Palace, had a two-column
review in the Sentinel, while A1 Camillo,
Tower, and Don Patch, Oriental, had stills
on “Second Time Around,” and Gabe Guzz-
man, Warner, had a still on “Mysterious
Island,” all in the Sentinel.

Carroll R. Morten has moved his family
to Milwaukee at 4681 North 86th St. Mor-
ten and his staff attended the AA Christ-
mas party in Chicago . . . Busy at the
Tower Theatre were Bob Moscow, in from
Prudential Theatres, Atlanta, telling about
a selected time spot campaign on TV and
radio; A1 Camillo, district manager, and
Louis Orlove, publicist for 20th-Fox. Ca-
millo has a contest in which an American
Beauty sewing machine is the prize. Ca-
millo is now a colonel in the Georgia State
Patrol, and Orlove is a lieutenant colonel
on the Wisconsin governor’s staff.

Gala Openings Click
In Solid Milwaukee

MILWAUKEE — Good grosses prevailed
at all downtown houses. Out at the neigh-
borhoods, the returns appeared from fair-
to-middling up to very good. Seven indoor
and four outdoor theatres day-and-dated
“Hey, Let’s Twist!” to about average re-
sults. The favorites were “Flower Drum
Song,” “Babes in Toyland,” “Mysterious
Island” and “King of Kings.”

(Average Is 1 00)

Downer — Royal Ballet (Lopert), 2nd wk 150

Palace — South Seas Adventure (Cinerama) . . . .200

Riverside — Babes in Toyland (BV) 260

Strand — King of Kings (MGM) 250

Times — A Weekend With Lulu (Col), 2nd wk. . . 90
Tower, Oriental — The Second Time Around

(20th-Fox) 190

Towne — Flower Drum Song (u-i) .275

Warner — Mysterious Island (Col); Everything's

Ducky (Col) 250

Wisconsin — Pocketful of Miracles (UA) 175

‘1. 2, 3' Zooms Upward
In 2nd Mill City Week

MINNEAPOLIS — “One, Two, Three” in
its second week at the St. Louis Park The-
atre, did the top business among all of-
ferings over the New Year’s weekend with
a big rating of 225 per cent. The picture
was aided by a campaign put on by Morrie
Steinman, local exploiteer, and the fact
that most bars and night clubs were closed
on New Year’s Eve. Runnerup was “Babes
in Toyland” in its second week at the Or-
pheum Theatre with a rating of 200 per
cent. Among the new offerings the best
business was done by “Not Tonight, Henry”
and “Sapphire” at the Avalon Theatre,
which rated 180 per cent.

Academy — King of Kings (MGM), 8th wk 80

Avalon — Not Tonight, Henry (IFD); Sapphire

(U-I), revival 180

Century — South Seas Adventure (Cinerama),

8th wk 110

Gopher — Pocketful of Miracles (UA), 2nd wk. . . 80

Lyric — Bachelor Flat (20th-Fox), 2nd wk 170

Mann — Flower Drum Song (U-I), 2nd wk 175

Orpheum — Babes in Toyland (BV), 2nd wk 200

St. Louis Park — One, Two, Three (UA), 2nd wk. 225
State- — The Second Time Around (20th-Fox) ...140
Suburban World — The Man Who Wagged His Tail

(Cont'l), 2nd wk 100

Uptown — Hey, Let's Twist! (Para), 2nd wk 100

World — The Roman Spring of Mrs. Stone (WBJ..100

’Babes' Brings a 200% Week
To State Theatre in Omaha

OMAHA — Downtown exhibitors were
cheered as holiday crowds caused a merry
jingle at the turnstiles and good holiday
fare brought many fat grosses. Best of the
reports came from the State, where “Babes
in Toyland” doubled the average figures.
All others were above average, including
holdovers. At the Cooper “Seven Wonders
of the World” in Cinerama showed an up-

surge after a slow previous week.

Admiral — Pocketful of Miracles (UA) 130

Cooper — Seven Wonders of the World

(Cinerama), 5th wk 150

Dundee — The King and I (20th-Fox), reissue,

5th wk 95

Omaha — Blue Hawaii (Para), 2nd wk 105

Orpheum — The Second Time Around (20th-Fox) 1 20
State — Babes in Toyland (BV) 200

—ORDER YOUR NEXT —

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BOXOFFICE January 8, 1962

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BOXOFFICE :: January 8, 1962

Shuttered for five years, the Toledo Esquire lights up again after complete updating of the exterior and interior.

featuring

CJ heat re (Construction and (denovatio

■Kl

JANUARY 8, 1962

T HE YEAR 1961 set a remark-
able record for new hardtop theatre
construction and presented the bright-
est picture in the last ten years.

And this is to say nothing of new
drive-in theatre construction which con-
tinued at a gratifying pace.

Certainly, this show of confidence in
the future of the motion picture theatre
should give a lift to the entire industry-

Notable in the new construction is the
fresh design approach by theatre archi-
tects. Few, if any, of the new theatres
have any resemblance to the theatre
of the past. The indoor houses, most of
them located in shopping centers or
suburban areas, reflect their locale in
the expansiveness of their design,
spreading over extensive ground sites,
and many of them providing generous
on-site parking facilities in addition to
those of the adjacent shopping centers.
Nearly all of them have sufficient foot-
age to allow beautiful landscaping and
some even have adjoining gardens.

There is a lift in the new building de-
signs which cannot help but attract
patrons, even those who seldom go to
a movie, to put down their money at
the boxoffice in order to see if the in-
teriors are as beautiful and exciting as
the exteriors — that, as much as to see
the picture on the screen.

Cantilevered, stepped or "galloping"
roofs, three-story-high lobbies visible
through the same height windows,
many new materials used for the
facades or unique treatments of old ma-
terials are just a few of the features
which make these new theatres dis-
tinctive and arresting.

And the interiors are equally refresh-
ing and, at the same time, restful and
stimulating, because of the interpre-
tation of the new architectural ideas of
this new decade.

con

A Beautiful Showcase for Menlo Park 4 >

King-Queen Contest Upped Sales, Patronage 8

American Univend Acquires Bert Nathan Enterprises

and Dine-O-Rama, Inc 10

Order Placed at Start of Line Ready at Cashier 11

Good Projector Maintenance Pays Off in a Good Picture

and Troublefree Operation Wesley Trout 13

DEPARTMENTS:

Refreshment Service..

New Equipment
and Developments

Projection and Sound

☆

8 Readers' Service Bureau 15

12 Advertisers' Index 15

13 About People and Product 16

ON THE COVER

Dark for several years, Loew’s Esquire in Toledo was given
extensive modernization and reopened late last year. The entire
front was sand blasted, display frames were remodeled and the
heavy, cumbersome front doors were replaced with new, annodized
gold aluminum and glass. A completely new boxoffice was set in the
left side of the theatre entrance lobby, and a Perey turnstile, the
first to be installed in a Loew’s theatre, eliminates the need of a
ticket-taker . To make the exterior job complete, uneven sidewalk
was torn up and new cement poured. The interior of the theatre
was also updated and a new screen and new projection and sound
equipment installed.

I. L. THATCHER, Managing Editor

The MODERN THEATRE Section of BOXOFFICE is included in the first issue of each month.
Editorial or general business correspondence should be addressed to Associated Publications,
825 Van Brunt Blvd., Kansas City 24, Mo. Wesley Trout, Technical Editor; Eastern Repre-
sentative: D. M. Mersereau, 1270 Sixth Ave., Rockefeller Center, New York 20, N. Y.;
Central Representatives: Louis Didier, Jock Broderick, 5809 N. Lincoln, Chicago 45, III.,
Western Representative: Wettstein, Nowell & Johnson, Inc., 672 Lafayette Place, Los
Angeles 5. Calif.

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1712 JACKSON ST.

OMAHA 2, NEBRASKA

BOXOFFICE :: January 8, 1962

OWNER: General Drive-In Corp.

ARCHITECT: Lathrop Douglass

The fed brick of the exterior is brought inside the art gallery and lounge on
four walls in the Cinema Theatre, Menlo Park, N.J., and the color is picked up
in the rich ground color of the carpet. Free-standing partitions serve as frames

for art displays and break the 40x80-foot area into intimate sections. Structural
ceiling members are left exposed and the lounge is lighted by cylindrical fix-
tures suspended between them. Connecting link to auditorium is at right.

A BEAUTIFUL SHOWCASE

General Adds Another to Its String of

FOR MENLO PARK

Shopping Center Cinemas

The Menlo Park Cinema contrasts the intricate and transparent glass entrance right. The precast, reinforced concrete roof structure is left exposed tor

pavilion with the solid, opaque red brick lobby and auditorium structure at the dramatic effect. Parking is provided on site and in adjacent shopping center.

The MODERN THEATRE SECTION

Since General Drive-In Corp. opened the first of its scheduled
string of ten shopping center theatres in August 1960, the circuit has pro-
gressively built additional houses, generally following the same design, all of
which are outstanding examples of modern architecture, luxurious furnish-
ings and excellence of screen presentation.

However, General’s new Cinema in Menlo Park, N.J., is an almost com-
plete departure in design from the other units and perhaps tops them all in
beauty and distinction.

A glass-enclosed pavilion, dramatically roofed in reinforced concrete,
houses an art gallery-lounge and an indoor boxoffice. Because of its trans-
parency and dramatic design it contrasts effectively with the simpler
masonry block which contains the auditorium and its circulation lobby.

The entrance pavilion is joined with the auditorium block by a connect-
ing link leading to the circulation lobby, and at the rear of the pavilion is an
attractive private garden.

The opaque auditorium block of dark red brick set into black mortar and
topped by a deep white fascia is broken by two 40-foot-high windows which
add interest to the front and permit a glimpse of the three-story-high circu-
lation lobby within.

The exterior natural red brick is carried into the interior through the
windows and creates three-story high walls in the lobby along which stair-
ways ascend to the loge level. The interior brick walls are accented by white,
sand-finished plaster valances on the mezzanine spanning the lobby and by
textured, white acoustic plaster ceilings.

SPECIALLY DESIGNED LIGHTING FIXTURES

Specially designed lighting fixtures called “wall-washers,” which illu-
minate vertical surfaces evenly, augment two milk-white plastic chandeliers,
the latter seen from the outside through the towering windows.

Although essentially of glass, the pavilion also has four free-standing
walls of red brick to relate its interior to the lobby, and the 3,000-square-
foot space is broken up by low room dividers to create intimate areas for
relaxation and viewing of the art exhibitions.

The concrete roof elements, painted white and gray, and the contrasting
black underside of the corrugated steel roof deck are left exposed, and per-
forated cylindrical chandeliers are suspended to provide a soft overall
illumination for the lounge.

Modular furniture upholstered in complimentary colors adds unity to
the area, and the red carpeting with accents of blue and purple, integrates
all theatre areas through its extensive use.

As patrons enter the lobby through the connecting link, they pass the
refreshment area which includes a stand at one end of the lobby and a
battery of vending machines at the other end, the latter enclosed behind
plastic veneered panels.

The two stairways, enclosed with delicate steel railings capped with
hardwood, separate entering patrons from those leaving the auditorium.

In the auditorium there are 1,200 seats on the orchestra floor and 400 in
the loge. Because of close cooperation between the theatre’s designer, Elliott
Willensky, head of New York’s Architectural Design Group, and Ben
Schlanger, theatre consultant, the theatre capitalizes upon widescreen pro-
jection techniques and four-track stereophonic sound to heighten the sense
of reality felt by the audience.

Extensive use of acoustical materials provides for the finest sound re-
ception, and the 58-foot widescreen is enclosed in carefully splayed panels

Continued on following page

☆

In the two views above are shown opposite ends of the three-
story-high circulation lobby with natural red brick walls con-
trasting with those of sand finish plaster. This lobby provides
for refreshment areas, entry to restroom facilities and for the
decorative public stairways to the loge level. In the upper
picture, looking back toward the refreshment stand and
pavilion, the built-in, self-service dispensers and public phone
booth may be seen on the left. All of the venders and the
phone booth are set in a row behind plastic-laminated ply-
wood panels identical with the doors to the restrooms which
are on either side of the group. Similar facilities are provided
on the upper level. Entrance to the orchestra floor is on the
right. In photo at left is the semicircular boxoffice desk
paneled in white plastic, with duplicate ticket selling facilities,
located just inside the pavilion. Brightly colored, translucent
draperies in harmony with the Cinema's color scheme hang
behind the cashier's area. The floor surface in this portion of
the pavilion is composed of white marble-chip terrazzo with
recesses provided for black non-slip rubber mats for safety.

BOXOFFICE : : January 8, 1962

SHOWCASE FOR MENLO PARK

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The Cinema Park screen is entirely enclosed in splayed panels which extend its light color in all
directions to its adjacent surrounds, creating the appearance of an even more expansive screen than its
actual dimensions of 26 feet high by 58 feet wide. During intermissions, instead of a curtain, the screen
area is bathed with an even blue light. Walls of the auditorium are light gray and the ceiling is white.

This view of the auditorium shows the luxurious chairs and seating pattern, and the I oge which curves
from one side of the auditorium to the other and is enclosed by a light steel railing reminiscent of the
stair railings in the circulation lobby. Although the projection ports are visible in this picture in their
deeply recessed location they are concealed from all seated patrons in both orchestra and /oge.

TUEMME

A closeup of the vending machines and service facilities located behind plastic-faced, flush wood doors.
Twin water fountains are at the right. Floor area in front of units is ceramic tile to protect carpet.

Continued from preceding page

which frame it on all four sides. Painted
white, the panels pick up the predominant
color of the image being projected and
cause the image to extend further toward
the audience so that the impression of
l'eality is heightened.

Auditorium walls are of corrugated, per-
forated aluminum panels which protect
and give an architectural finish to the
three-inch Fiberglas insulation. The ceil-
ing is of perforated pan construction with
similar acoustic backing.

RED AND GOLD COLOR SCHEME

Auditorium seating carries out the basic
theatre color scheme; orchestra seats of
the push-back type are upholstered in
cherry red Hylon and loge chairs are
spring-back type in gold. Exposed metal
standards and backs are white enamel.

To provide exits from the loge required
by code, both forward ends of that area
sweep toward stairways located behind the
screen. Slender steel supports similar to
those of the lobby stairways rail the curved
loge area.

The projection booth is located in a deep
recess far behind the rear of the loge, mini-
mizing distraction caused by the projection
beams where they are most highly
concentrated.

The Cinema occupies its own site which
is surrounded by streets on three sides, and
is set back from its two main frontages
with the remaining space used for land-
scaping and parking. In addition to the
on-site parking, the Cinema patrons bene-
fit from the parking area of the immedi-
ately adjacent Menlo Park Regional Shop-
ping Center, an extensive complex. The
theatre is located on U.S. Route 1 and, in
addition to the traffic generated by the
shopping center, the theatre benefits from
its proximity to the New Jersey Turnpike
and Garden State Parkway.

A FAST-GROWING AREA

The community of Menlo Park is near
the center of Middlesex County, one of New
Jersey’s fastest growing areas and part of
New York City’s expanding suburban
fringe.

Two signs, each reading “Cinema” in
modified P. T. Barnum-type lettering, are
located on the theatre to face Route 1 and
the shopping center. There is also a double-
faced, free-standing attraction panel and
name sign located just off the main road
intersection which is remotely lighted from
a catwalk.

Architect for the Cinema was Lathrop
Douglass and coordinating architect for
General Drive-In Corp. was William Rise-
man. Edward Klausner was structural
engineer and Sidney W. Barbanel was
mechanical engineer.

CREDITS: Air conditioning: Worthington • Car-
pet: Whittal Division of Roxbury Carpet Co. •
Lamphouses: Ashcraft • Lenses: Bausch & Lomb
• Lighting fixtures: Habitat and Century • Pro-
jectors: Century Model HHW • Rectifiers: Ashcraft
selenium type • Seats: Griggs • Sound system ond
speakers: RCA • All theatre equipment supplied by
Capital Motion Picture Supply.

The MODERN THEATRE SECTION

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CINEMA T H E A T R E ..n. p*. a. * , new jeasLY

This architect's sketch clearly shows the design of the theatre building as
well as indicating the garden and planting areas at rear left and front.

The Menlo Park Cinema projection room's two pro-
jectors are ventilated through the duct system in
the ceiling, and provision has been made for the
addition of another projector. All of the major
electric panels are located in the booth and access
to the main floor is provided through a dumbwaiter
just out of the picture to the right for easy han-
dling of arriving film cans. The flooring is tile.
The projection room occupies the space above the
restroom core and includes provision for the eventual
adaptation to 70mm projection in the theatre.
The theatre is now equipped for both widescreen
and four-track stereophonic sound presentation.

Architects Design Group Calls
Good Design Economical

Organized in mid-1961, the Architects
Design Group is a collaborative of young
architects who feel that good design not
only repays the client with efficient opera-
tion and continued public response, but
effects economies in construction and
maintenance which extend the useful life of
a building and keep it from becoming
dated. As a small organization the Group
believes it can interpret the needs of an
individual client in an unique and appropri-
ate manner and thereby achieve a distinc-
tive contribution to the realization of those
needs.

The Group is headed by Elliot Willensky
who was responsible for the design of
Menlo Park’s Cinema Theatre prior to join-
ing the collaborative. It consists of two
other architects and a small technical staff
and has its offices in New York City.

VISUAL VARIETY DESIRABLE

In regard to building for suburbs such as
Menlo Park, Willensky has this to say,
“Since so many of our suburbs are dormi-
tory communities which lack urban ameni-
ties like shopping areas, theatres, bowling
alleys and other recreational facilities,
roadside substitutes with adequate parking
will necessarily increase. In view of the
monotony of the residential areas these
roadside structures must also satisfy the
residents’ needs for visual variety and di-
version to be successful. As competition in-
creases these needs will not be satisfied by
garishness or cliches, but only through

carefully planned and designed works of Readers' Service Bureau Coupon, Page 15.

architecture.”

Among the projects that members of the
Group have designed are a large regional
shopping center, two department stores, a
motor hotel, bowling alleys, and a number
of private residences. At the moment they
are engaged in work on a small urban
museum and an exhibit building for a
fair.

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BOXOFFICE :: January 8, 1962

KING -QUEEN CONTEST UPPED SALES, PATRONAGE

#4 Pepsi ’n Popcorn King and
Queen contest, centered on “Those Who
Are Young” (junior patrons), not only in-
creased concessions sales but also stimu-
lated patronage for the Fox Venice The-
atre, Venice, Calif. The contest was held
during the month of July as part of the
nationwide Pepsi ’n Popcorn promotion.

According to A1 Sachs, manager, here’s
how the promotion worked:

To get the contest off to a good start,
heralds announcing the contest were dis-
tributed throughout the community, as

Promotion of the Popcorn 'n Pepsi King and Queen
contest at the Fox Venice Theatre, Venice, Calif.,
began in the lobby with this animated display.
Animation consisted of a constant rotation of six
different frames of copy in the center panel.

well as to patrons and children leaving
the theatre.

Each youngster who brought in a Pepsi-
Cola bottle cap to the theatre received a
King and Queen coupon; another coupon
with the purchase of an admission ticket,
and additional ones with purchases of
Pepsi and popcorn at the concessions
stand.

Adults were also eligible to receive cou-
pons, upon request, for their children.
Naturally, the more coupons a child had,
the greater the chance for winning in the

At times the demand for popcorn and Pepsi was
greater than the supply, as indicated in this pic-
ture as the popcorn was dwindling; this was
quickly remedied, however, because the popcorn
machine was kept busy to provide a new supply.

drawing to be held at the end of the month.

Memo reminder slips to enjoy the twin
treats and vote in the contest were given
to all patrons attending the theatre and
stickers were placed on Pepsi cups and
popcorn boxes as an additional reminder.
The stickers bore copy such as “It’s a
double delight ... to enjoy tonight! Pepsi
’n Popcorn!” printed on bright fluorescent
paper.

On the last Saturday in July the King
and Queen were crowned and, along with
the honor, received some dandy gifts.

Kids lined up at the concessions stand to purchase
Pepsi and popcorn and secure additional coupons
for the drawing which would make two of them
the happy winners of the royal titles, plus some
fine prizes, when the drawing was made on stage.

Eager anticipation accompanied the drawing. Crown weighed heavy on little king, but queen beams.

The MODERN THEATRE SECTION

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BOXOFFICE :: January 8, 1962

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American Univend Acquires
Bert Nathan Enterprises
And Dine-O-Rama, Inc.

American Univend Corp. has signed an
agreement to acquire 25 companies that
comprise Bert Nathan Enterprises, Inc.,
and Dine-O-Rama, Inc., two of the nation’s
largest independent concessions and vend-
ing machine operators. I. R. Rill, presi-
dent of American Univend, said the trans-
action involves approximately $1,500,000.
The acquired companies will operate as
wholly owned subsidiaries of American
Univend and will continue to be managed
by their present officers, headed by Bert
Nathan.

Bert Nathan Enterprises last year had a
total volume of $2,500,000. In addition, Mr.
Rill noted, Dine-O-Rama expects to oper-
ate at the rate of $3,000,000 annually, re-
sulting in an estimated total volume of
$5,500,000 per year for all the acquired op-
erations. Dine-O-Rama, a nationwide
chain of companies organized by Nathan
in 1960, operates all vending machines, as
well as food, drink and amusement conces-
sions, in major discount stores across the
country.

MANY COMPANIES INVOLVED

Among the companies controlled by Bert
Nathan Enterprises are A & R Distributing
Co., wholesale candy and vending machine
distributors; Drive-In Concessions, which
runs food and drink concessions in the
leading drive-in theatres in the New York
metropolitan area; Theatre Drink Corp.,
which owns and maintains 700 drink ma-
chines in movie theatres; Theatre Popcorn
Vending Corp., which sells pre-popped com
to theatres throughout New York and New
Jersey, and Vendorama, which specializes
in food servicing in plants and offices.

Nathan is past president and one of the
founders of the National Ass’n of Conces-
sionaires. He is also a director of the New
York Vending Ass’n, and a member of the
National Automatic Merchandising Ass’n.

American Univend leases vending ma-
chines and supplies the products sold in
these machines to operators throughout the
country. Its products include Alkaid,
Cloramint, and F & F Cough Lozenges.

Small Drive-In Doubles Size

The Community Drive-In Theatre at
Keystone Heights, Fla., which was cited in
this publication in February 1952 as per-
haps one of the smallest drive-ins in the
country with space for 52 cars, has now
grown to accommodate 100 cars.

This was one of the first drive-ins in
Florida to install Cinemascope, and the
present screen tower is 50 feet wide, with
the concessions running the full width
under the tower.

The Community is located right in the
heart of the summer resort town and backs
up to Lake Brooklyn with a perfect view of
the lake at all times from the entrance. It
was built, literally, by Bill Lee, veteran
motion picture engineer.

Readers' Service Bureau coupon, page 15.

.. .p M.

Cotton Candy— an old profit
favorite, has proved to be a profit
bonanza for dozens and dozens of
theatres. New Gold Medal Equip-
ment designed expressly for your
type operation now makes Cotton
Candy Profit easy to get.

UNI-FLOSS

^The first Complete
Theatre Model Cotton
Candy Machine
^Proven Gold Medal
Production
^ Proven Filtering
^Absolutely no mess
^Easy to operate

NEW . . . From

Gold Medal
New Design
Electric Machines
New Drive-In
Models Write toda y for literature,

the Newest Things for
bigger Concession Profits.

Refreshment Division

- GOLD MEDAL PRODUCTS CO.

1829 FREEMAN AVENUE
CINCINNATI 14, OHIO

s / / j 1 ' The new “ NAME " in the Refreshment Industr y

SNO-BAR

^ The Complete
^ Sno-Kone Unit.

^ New throughout
^ A Proven Winner

Get your Share of a Multi-
Million Dollar Market with new
Gold Medal Profit Winners.

Yes, hundreds of theatres, both
drive-in and four-wall are finding
Sno-Kone Profits equal to that of
Popcorn— winter and summer.

The MODERN THEATRE SECTION

Order Placed at Start of Line Ready at Cashier

When patrons reach the end of the lines in this
busy four-lane cafeteria in the Canoga Park Drive-In
Theatre, San Fernando Valley, they find their
special orders awaiting them at the cashiers'
stations. Located at the start of each lane is an
ordering area, so items that require special
preparation can be prepared while the patron
moves through the line. The Canoga, a 1,500-
car drive-in, was opened last year. In the photo
above. Pacific Drive-In Theatres District Man-
ager Jim Barka stands in the center of the
concessions area and Tom Charack, designer of the
cafeteria is inside the island, to the right. In photo
at left, Pacific District Manager Jack Carter uses
walkie-talkie two-way radio to speed car handling.
Doyle Shelledy, Canoga Park manager, is at right.

boost profits

with relaxing comfort

and easy maintenance

o/ Futura

Box office profits go up, mainte-
nance time goes down— thanks to
the comfort and styling of FUTURA
seating. Massive arm rests, padded
back, spring-filled cushion seat of-
fer comfort that brings customers
back. New sloping standards of
ovalized steel permit easy passage
through rows; leave floor clear for
quicker, easier cleaning. Write for
free, full-line catalog.

The Biggest Name in Popcorn Throughout the World

MANLEY,

IS AT YOUR
SERVICE

For over a quarter of a century, Manley, Inc.
has assisted thousands of theatre owners in
equipping and operating a more profitable
concession. Investigate how Manley's years of
merchandising experience and superior Manley
equipment can help you make your
concession more profitable.

popcornmachines

POPCORN SUPPLIES

Write or Phone: MANLEY, INC.

1920 Wyandotte St. Kansas City 8, Mo.

HEYWOOD-WAKEFIELD . PUBLIC SEATING DIVISION
MENOMINEE, MICHIGAN

Ask Your Motiograph Dealer

BOXOFFICE January 8, 1962

Give ice cream quality . . . make li on
10(5 sales. Cash in on the demand for
delicious soft-served cones, shakes.

Serve a 1 Off cone in 2 seconds . . .
your food cost less than 3 ff. Serve a
2 5 ff shake in 5 seconds . . . your food
cost only 6(f. Win new fans, make big
profits with a compact Sweden freezer.
Easily run by untrained help.

Like the Model 208 SoftServer
shown here, all compact Sweden
machines are keyed to high-pro-
duction needs. They occupy only 3
square feet — or less. SpaceSaver
counter models are also available.

SW€D€IV

SWEDEN FREEZER MFG. CO.
Seattle 99, Wash. Dept. T-2

TREMENDOUS PROFITS !!

Now Fresh Fruit Sundaes, Pineapple and
Strawberries from stainless steel pans!

Both juices for snow cones and fresh fruit
for sundaes dispensed from one machine

HERE'S HOW TO MAKE

BIG MONEY WITH "SNOW

MAGIC'

THE NEW SNOW
CONE MACHINE

Capacity-. 50 cones
every 30 seconds.

The Bert’s ‘’SNOW
MAGIC" machine
combines eye-appeal-
ing beauty with per-
fect mechanical per-
formance and large
capacity. "Snow
Magic” is easy to
operate and is Fully
Automatic. A Snow
Cone costs 1J4 to
l'/ 2 C and usually
sells for 10c . . .
that's profit!

Distributors of fomous
Victor's QUICK MIX dry
flavor concentrates.

FREE SAMPLES
WITH EACH MACHINE

SAMUEL BERT MFG. CO

Fair Park Station, Box 7803, DALLAS, TEXAS

Save money. No stale or
left-over coffee when your
coffeemaster is an E-Z
WAY automatic. Coffee's
fresh, hot and ready all
the time. Get the facts —
write now:

STEEL PRODUCTS CO.

40 5th Ave., S.W.
Cedar Rapids, Iowa

ULSLSJUULSLJlJLSLSLOJLSLJLJLiLiLiULJLjULOJLB '

N E W

EQUIPMENT

and

DEVELOPMENTS

inroinnnnnnrTTnnsTnroTroTnroi^

Hot Coffee and Chocolate
Vender Completely Revamped

The 1962 Fireball unit of Cole Vending
Industries’ matched line of vending ma-
chines has undergone a complete revamp-
ing from the inside out, so that the ma-
chine, except for its name, is virtually “an
absolutely new unit.” The new hot drink
machine has a distinctive feature, a choco-
late whipper which delivers the hot choco-
late from a plastic, health-approved unit
saving 33 per cent of product cost. Both
the mechanical and electrical functions of
the Fireball have been substantially im-
proved so that it will operate virtually
trouble-free with minimum care over ex-
tended periods, the manufacturer says.
Besides serving chocolate from a separate
mixing bowl and delivery tube, the machine
also delivers coffee black, with sugar, with
cream and with cream and sugar. Coffee
is made in a high density, high quality
ceramic bowl which is specially developed
for a maximum self -brewing cycle mix.

Ice-Melting Compound for
Walks and Driveways

Monroe Co. has announced a new, im-
proved ice and snow-melting compound
which is the result of the addition of Xylo-
Phosite to its X-73 Ice Remover. The
compounded additive increases its melting
and penetrating effectiveness and also in-
troduces greater rust-inhibitive qualities.
One pound of the compound, in tests,
bored halfway through a solid ten-pound
block of ice in just ten minutes. It is re-

ported to be the most practical and eco-
nomical method of ice and snow removal:
no messy residue; no track-in; harmless
to concrete, shrubs and grass; retards
freezing. It is recommended to melt snow
and thaw ice on all types of pavements,
walks, driveways, etc.

{Join uUtlt tyamouA

, LIBERTY
FIREWORKS

For Record-Breaking Drive-In Crowds

You are assured Greater Value, Safety,
Brilliance, Color, Flash and Noise.

Spectacular LIBERTY FIREWORKS are the great-
est boxoffice attraction because they are the
world's finest! They pay for themselves in in-
creased attendance.

READ THIS UNSOLIC- ★
ITED TESTIMONIAL
"We have shopped around
for fireworks to use in our
drive-ins and after com-
parisons have found we
get the best deal from
LIBERTY. Your displays
are brighter.”

GET FREE CATALOG
NOW!

48 page catalog, fully i|.
lustrated shows the gor-
geous beauty and mag-
nificent splendor of LIB-
ERTY FIREWORKS.
Reasonably priced from $35
to $1,000 and up.

NOTICE: NEW HOME ADDRESS

LIBERTY DISPLAY FIREWORKS CO.

Hegeler Lane

Site formerly Hegeler Zinc Plant
P. O. Box 683, Danville. Illinois
Phone HI 2-2559. If no answer call HI 6-6743

★ ★★★★★★ ★

MOTIOGRAPH

DELUXE SPEAKER

The
Finest Speaker
You Can Buy

Ask Your Motiograph Dealer

TO FILL
POPCORN BAGS
AND BOXES WITH
THE NEW PATENTED

SP EEDSCQ CP

THOUSANDS OF
D ELIGHTED US ERS

$2*2 AT YOUR
THEATRE SUPPLY ON
POPCORN SUPPLY DEALER

The MODERN THEATRE SECTION

Good Projector Maintenance
Pays Off in a Good Picture
And Troublefree Operation

By WESLEY TROUT

I F ONE TAKES GOOD CARE Of his

projector, practically troublefree operation
can be obtained from any make of
mechanism. Keeping the projector mech-
anism clean is one of the best ways of as-
suring highest quality projection. The in-
terior of the film compartment is usually
large in most all makes of modern pro-
jectors and ample space is provided be-
tween all units to facilitate rapid and
thorough cleaning.

It requires only a few minutes each day
to properly clean the gate, sprockets, film
trap and interior and exterior before the
show starts. All that is needed is a clean,
lintless rag and a small brush plus a tooth
brush for the sprockets in the mechanism
and soundhead. The brush should always
be moistened with a little kerosene in
order to remove any accumulation of oil
and dirt.

MUST HAVE CLEAN FILM TRAP

Of paramount importance is the
thorough cleaning of the film trap and
gate assembly. For a thorough cleaning
the gate should be removed and cleaned
with a brush and rag. Care should be
taken when cleaning between the film
guide rollers and the film trap main cast-
ing to remove all dirt and foreign matter
which may prevent their operating freely.
It is very important that the lateral guide
rollers turn freely so that no ridges or flat
spots will develop and cause film damage
and side -motion of the projected image.
A drop of oil should be placed on the

ADLER

LETTERS

ASSURE SELLING IMPACT
FOR YOUR CHANGEABLE SIGNS!

The oo ly complete line of Plastic and Aluminum
letters, from 4" to 31", including "Snap-Lok"
Plastic Letters that won't blow off, won't fall off.
All sizes of Adler Plastic Letters available in
Red, Blue, Green, Opaque Black. For Free Cata-
log of Adler "Third Dimension" Changeable
Letters — Mechanical Letter Changer — Stainless
Steel Frames Glazed with Glass or Plastic — Low-
Cost "Sectionad" Displays — Cast Aluminum
"Mounties" for building identification — write:

ADLER SILHOUETTE LETTER CO.

11843-A W. Olympic Blvd., Los Angeles 64, Calif.

shaft every day and every bit of the dirt
should be removed in order that the rollers
will turn freely.

Some of the modern mechanisms are
equipped for variable shoe tension control
by merely moving a lever; in older mech-
anisms it will be necessary to slightly bend
the tension springs to the desired tension
on the film. The tension for film in aver-
age condition and not too old is generally
around 375 grams; for “green” film the
tension should be about 225 grams. The
“high” position should be 675 grams to
aid in flattening old and buckled films.

For a rock-steady picture, be sure the
film trap door is closed tight against its
stop. The film trap door should have very
little play and should close smoothly with-

out any bind. A loose door can cause pic-
ture unsteadiness and uneven film travel.
It should be cleaned every day.

When installing a new intermittent
movement, remember that the shutter
must be properly timed so that there is
no travel ghost. It is as well, even when
replacing an old movement, if repairs
have been made, to check and see that the
shutter is in time. There is no good reason
for the shutter to be out of time when it
is a very simple procedure to set shutter
on most any make of projectior.

The best way to remove emulsion de-
posit is by scraping it off with the edge
of a silver coin. It can also be removed
with a wet cloth and then finish with a
Continued on following page

ALBANY, N. Y.
ALEXANDRIA, LA.
ATLANTA. GA.
BALTIMORE, MD.
BOSTON, MASS.
BUFFALO, N. Y.
CHARLOTTE, N. C.
CHICAGO, ILL.
CINCINNATI, OHIO
CLEVELAND, OHIO
DALLAS, TEXAS
DENVER, COLO.

DES MOINES, IOWA
DETROIT, MICH.
GREENSBORO, N. C.
HOLLYWOOD, CALIF.
HOUSTON, TEXAS
INDIANAPOLIS, IND.
KANSAS CITY, MO.
LOS ANGELES, CALIF.
LOUISVILLE. KY.
MEMPHIS, TENN.
MILWAUKEE, WISC.
MINNEAPOLIS,

MINN.

POINTS OF DISTRIBUTION

NEW HAVEN, CONN.
NEW ORLEANS, LA.
NEW YORK CITY
OKLAHOMA CITY,
OKLA.

OMAHA, NEB.
PHILADELPHIA, PA.
PITTSBURGH, PA.
PORTLAND, ORE.
PROVIDENCE, R. I.
SALT LAKE CITY,
UTAH

SAN FRANCISCO,
CALIF.

SEATTLE. WASH.
SIOUX FALLS, S.
DAK.

ST. LOUIS, MO.
SYRACUSE, N. Y.
WASHINGTON, D. C.

CANADA
TORONTO, ONT.
MONTREAL, QUE.
VANCOUVER, B. C.

USE UP th.se CARBONS!

Full Refund
if not 100%
Satisfied

CALI CARBON COUPLERS
Let You Burn All the Carbon

" They're Expendable "

FOR ROTATING CARBONS
10mm or 11mm EXTENDER KITS
Complete for 2 lamps $8.50

The most popular carbon saver. Used by more 7"/»ey save 25% or more of carbon costs.

theatres than ALL other makes COMBINED.

Per Hundred, postpaid: Not Packed in
Mixed Sizes.

6mm $2.75 8mm $3.25

7mm $3.00 9mm $4.00

No worrying about injury to high priced car-
bon savers. Burn ’em up, you still profit.

Most economical carbon saver you ever used !

CALI Products Company

.3719 Marjorie Way Sacramento 20, Calif

The WORLDS LARGEST Producer of Carbon Savers

At all progressive theatre supply houses.

LONG-LASTING
DEPENDABLE

THEATRE
SEA TING

Auditorium and Theatre
Seating to fit every budget.

Send for FREE LITERATURE

IRWIN SEATING COMPANY

1480 BUCHANAN, GRAND RAPIDS, MICH.

BOXOFFICE January 8, 1962

UNITIZED

Uniform width, back pitch and level seat-
ing are assured by factory assembly of
seat, back and side plates. Installation re-
quires only mounting of the already as-
sembled seat on preset standards. Arm
rests affix chair unit to standards in rigid
position — without any exposed fastenings
Write today for the complete
International story.

International Seat Div.
Union City Body Co., Inc.
Union City, Ind.

NATIONAL THEATRE SUPPLY COMPANY

GOOD PROJECTOR MAINTENANCE

Continued from preceding page

silver coin. This eliminates any damage
with a hard piece of metal and, by using
a wet cloth, the latter softens the sub-
stance and makes it easier to remove.
Never, never use a knife blade or screw
driver on shoes, because by so doing you
will scratch the polished surface and thus
increase the tendency to deposit.

Never continue to use an intermittent
sprocket if its teeth have become ap-
preciably worn, because such sprocket is
likely to produce unsteadiness of the pic-
ture on the screen and may damage the
film perforations. This is also true of
the upper feed and lower feed sprockets.
Don’t take chances of damaging film or
tearing a splice apart which would make
it necessary to stop.

LUBRICATING THE INTERMITTENT

Lubricating intermittent movement is a
very important matter. First, use the grade
and type recommended by the manufac-
turer; second, never put in so much oil
that it reaches the top of the oil gauge
glass. Halfway is just right. In most pro-
jector movements there is an oil hole or
cup for oiling the outer bearing of the
starwheel shaft. Only a few drops of oil
are necessary in this cup, any more than
this is surplus and runs off onto the pro-
jector and floor.

Manufacturers have been installing
hardened sprockets on their projectors be-
cause they give better service and will not
undercut so fast as soft sprocket teeth used
several years ago. Hardened sprockets are
almost impervious to wear, there is seldom
any picture jump caused by uneven
sprocket tooth wear. If wear does ulti-
mately occur, the sprocket, on most
modern makes of mechanisms, may be
reversed and used for another compara-
tively long wear.

A jerky takeup action indicates the
takeup mechanism needs a thorough
cleaning and readjustment for smooth
operation. There should be only enough
tension on the lower takeup to rewind a
full reel of film, any more than this is
absolutely unnecessary and excessive ten-
sion can cause film damage.

REPLACING INTERMITTENT PARTS

In replacing old intermittent parts after
cleaning, or installing new parts, be sure
they are perfectly clean. They must fit
snugly but not too tightly as this sets up
friction and causes rapid wearing of parts
and a hard-running movement. Never force
new parts that fit too tight. Dress shaft
down with fine emery cloth and then
clean and oil before again fitting bushings.
New parts should fit easily and if too
tight, they should be returned for parts
that will fit your intermittent movement
assembly.

NOTE: When installing new tracks and
shoes, if the plate and track form one
unit, make sure that the surface that is
to receive them is perfectly clean. Even
a very small deposit of dirt may throw
them out of true and cause poor overall
focus, etc. Always make sure, when re-
placing new parts, to thoroughly clean
the unit they are to be installed in and
also clean even the new parts. It pays
to replace parts when they show appreci-
able wear. It will prevent breakdowns.

PROJECTION

LIGHTING

REQUIREMENTS

with but two or three lamps

The full line of Strong projection
lamps for 35 and 70 mm projection
includes six different models for
drive-in theatres and eight for indoor
theatres, including the famous Jetarc,
most powerful lamp ever produced.
Strong has a right lamp for screens
of any type and size — a lamp which
can be proved by impartial foot-
candle meter tests to project the
brightest pictures.

Send for literature.

THE

STRONG

ELECTRIC CORPORATION

11 CITY PARK AVENUE • TOLEDO 1, OHIO

"The World's Largest Manufacturer of Projection Arc Lamps ”

Changeable Letters

STANDARD or BAUOON

Attraction Boards Avail-
able. Write for Literature Cj
and Prices.

fE&a ! !a ntyne

BALLANTYNE INSTRUMENTS AND ELECTRONICS. INC.

A DIVISION OF ABC VENOING CORPORATION > '

HIGHEST QUALITY CLEANER THAT CAN BE MADE

GLASS & CHROME

CLEANER

'/iii \ \ \ \ w

NO SILICONE TO LEAVE FILM.

’CLEANS]

SPARKLING
CLEAN

SOLD BY NATIONAL THEATRE SUPPLY

The MODERN THEATRE SECTION

CONDENSED INDEX OF PRODUCTS

Page

ATTRACTION BOARDS AND
LETTERS

Adler Silhouette Letter Co 13

Ballantyne Inst. & Elect., Inc 14

Wagner Sign Service, Inc 9

BUTTER DISPENSER
Server Sales, Inc 10

BUTTER SERVER
Server Sales, Inc 10

CARBON SAVERS

Cali Products Co 13

COTTON CANDY MACHINE

Gold Medal Products Co 10

DRINK DISPENSERS

Steel Products Co 12

DRIVE-IN THEATRE EQUIPMENT
Ballantyne Inst. & Elect., Inc. 3, 14
Di’ive-In Theatre Mfg. Co 7

FILM CEMENT

Fisher Mfg. Co 13

FIREWORKS DISPLAY
Liberty Display Fireworks Co.,

Inc 12

GLASS & CHROME CLEANER

Kinner Products Co 14

ICE CREAM FREEZERS, SOFT
Sweden Freezer Co 12

LIGHTING, DIRECTIONAL

Drive-In Theatre Mfg. Co 7

Renovate —

Remodel —

REBUILD

YOUR

PATRONAGE

Poge

POPCORN EQUIPMENT &

SUPPLIES

Manley, Inc 11

POPCORN SCOOPS

Speed Scoop 12

PROJECTION ARC LAMPS

Strong Electric Corp 14

PROJECTORS, 70/35mm
North American Philips Co 7

SEATING, THEATRES
Heywood-Wakefield Co 11

Page

International Seat Corp 14

Irwin Seating Co 13

SNOW-CONES

Samuel Bert Mfg. Co 12

SPEAKERS, IN-CAR FOR
DRIVE-INS

Ballantyne Inst. & Elect., Inc 3

Drive-In Theatre Mfg. Co 7

Motiograph, Inc 11, 12

THEATRE EQUIPMENT &

SUPPLIES

National Theatre Supply 14

Clip and Mail This Postage-Free Coupon Today

FOR MORE INFORMATION

This form is designed to help you get more information on products and services
advertised in this Modern Theatre Buyers' Directory and Reference Section. Check:
The advertisements or the items on which you want more information. Then: Fill in
your name, address, etc., in the space provided on the reverse side, fold as indicated,
staple or tape closed, and mail. No postage stamp needed.

ALPHABETICAL INDEX OF ADVERTISERS, Issue of January 8, 1962

Page

□ Adler Silhouette Letter Co 13

□ Ballantyne Inst. & Elect., Inc 3, 14

□ Bert Mfg. Co., Samuel 12

□ Cali Products Co 13

□ Drive-In Thea. Mfg. Co 7

□ Fisher Mfg. Co 13

□ Gold Medal Products Co 10

□ Heywood-Wakefield Co 11

□ International Seat Corp 14

□ Irwin Seating Co 13

□ Kinner Products Co 14

Page

□ Liberty Display Fireworks Co., Inc 12

□ Manley, Inc 11

□ Motiograph, Inc 11, 12

□ National Theatre Supply 14

□ North American Philips Co 7

□ Server Sales, Inc 10

□ Speed Scoop 12

□ Steel Product Co 12

□ Sweden Freezer Mfg. Co 12

□ Strong Electric Corp 14

□ Wagner Sign Service, Inc 9

☆

NEW EQUIPMENT and DEVELOPMENTS

BOXOFTICE :: January 8, 1962

□ Hot Coffee and Chocolate Vender

Page

... 12

□ Ice Melting Compound

Page

... 12

about PEOPLE / and PRODUCT

Sweden Freezer Manufacturing Co.
marked its 30th year of operation in De-
cember 1961. It was in 1931 that Harvey
Swenson, now president, began manufac-
turing soft-serve ice cream equipment
which would produce ice cream and prop-
erly hold it until it was needed, to be served
directly from the freezer.

Today, Sweden occupies an enviable
position in world trade, having pioneered
an entirely new kind of ice cream equip-
ment and product. Its equipment is now
in use in almost every country in the free
world, and it has plants in Seattle, Wash.,
Columbus, Ohio, the Netherlands and

Australia, and a new production plant is
expected soon to be underway in Japan.

Dr Pepper Co. syrup sales set a new all-
time high for November, climbing nearly
16 per cent over the previous record in
1960. It was the fourth consecutive month
of record-breaking sales, bringing to a total
of seven the number of all-time high
months during 1961.

Royal Crown Cola Co. opened its 1962
sales meeting for the nation’s Royal Crown
and Nehi bottlers today (8) at the Roose-

velt Hotel, New Orleans, La. On Tuesday
afternoon (9) the board of directors will
hold its first 1962 quarterly meeting. Un-
veiled during the two-day meeting was “the
best advertising, sales promotion and mer-
chandising program in the company’s more
than 50-year history,” according to W. E.
Uzell, vice-president and marketing
director.

The Dodgem Corp., manufacturer of
electrically controlled cars used in carni-
vals and amusement parks, has been pur-
chased by the Allan Herschell Co., Buffalo
manufacturer of amusement park rides.
President Lyndon Wilson said it is the
Herschell Co.’s fifth acquisition of an
amusement ride or manufacturing rights
in five years. All of the Dodgem manu-
facturing and service facilities will be
moved from Lawrence, Mass., and Exeter,
N.H., to the Herschell plant. Founded in
1880 as a manufacturer of merry-go-
rounds, Allan Herschell now is a wholly
owned subsidiary of Wiesner-Rapp Co..
Buffalo.

George A. Callard, national manager of
the Coca-Cola Co.’s Fountain Sales Depart-
ment, has been elected a vice-president of
the company. His offices will be in Atlanta,
Ga. Callard has been with the company
since 1926, and in 1950 was appointed man-
ager of the Baltimore region of fountain
sales, the post he held until his appoint-
ment as national manager of the depart-
ment last September.

Dollar sales and earnings of both do-
mestic and foreign operations for the third
quarter and the first nine months of 1961
exceeded any similar period in the Coca-
Cola Co.’s 75-year history.

Consolidated net profit for the first nine
months of 1961, after provision for re-
serves, income taxes, and other charges,
amounted to $34,813,419, or $2.52 per share,
as compared with $32,509,018, or $2.37 per
share, for the first nine months of 1960.

Consolidated net profit for the third
quarter of 1961 after all charges amounted
to $15,072,144, or $1.09 per share, as com-
pared with $14,170,044, or $1.03 per share,
for the third quarter of 1960.

Thomas C. Hunter jr. has been ap-
pointed assistant to the vice-president of
operations in Dr Pepper Co.’s national
headquarters in Dallas. Hunter has been
manager of the Baltimore, Md., syrup oper-
ation since it went into production in 1951.
He originally joined the company’s Dallas
syrup production department in 1939.

James Hovey has been named service
manager-commercial carpets of A. & M.
Karagheusian, Inc., manufacturer of Guli-
stan carpet. Hovey joined the company as
a sales trainee in 1948 and subsequently
was appointed territory salesman in the
Chicago, Dallas and New York offices. In
1958 he was appointed commercial sales
representative for Seaboard Floor Cover-
ings, Inc., a position he held until his ap-
pointment as Seaboard’s Northern Division
branch manager in 1959. In his new posi-
tion, Hovey will be responsible for com-
mercial carpet sales and manufacturing
coordination.

The MODERN THEATRE SECTION

BOXOFFICE-MODERN THEATRE:

Send me more information about the products and articles checked on
the reverse side of this coupon.

Name Position.

Theatre or Circuit..

Seating or Car Capacity..

Street Number

City-

Zone..

State..

Fold along this line with BOXOFFICE address out. Staple or tape closed.

HAVE YOU MADE ANY IMPROVEMENTS LATELY?

We’d like to know about them and so would your fellow exhibitors.
If you’ve installed new equipment or made other improvements in your
theatre, send us the details — with photos, if possible. Or if you have
any tips on how to handle some phase of theatre operations, concessions
sales, etc. — faster, easier or better — let other showmen in on them. Send
this material to:

The Editor

MODERN THEATRE

y^ Fold along this line with BOXOFFICE address out. Staple or tape closed.

BUSINESS REPLY ENVELOPE

First Closs Permit No. 874 - Section 34.9 PL&R - Kansas City, Mo.

BOXOFFICE-MODERN THEATRE

825 Van Brunt Blvd.

KANSAS CITY 24, MO.

• THIS SIDE OUT

co^

• A DUNES & EXPLOITIPS

• ALPHABETICAL INDEX

• EXHIBITOR HAS HIS SAY

• FEATURE RELEASE CHART

• FEATURE REVIEW DIGEST

• SHORTS RELEASE CHART

• SHORT SUBJECT REVIEWS

• REVIEWS OF FEATURES

• SHOWMANDISING IDEAS

THE GUIDE TO | BETTER BOOKING AND BUSINESS- BUILDING

'IS./

Piccard Son and Balloon
Take Off for Island'

One of the most novel exploitation stunts
staged in Boston in recent years came off
at the Museum of Science when John
Markle, Columbia, staged a balloon ascent
for “Mysterious Island,” which opened to
fine business at the Pilgrim Theatre in
downtown Boston.

With crowds of curious, Boston film
critics, writers, reporters and photograph-
ers on hand, the balloon ascent was made
by Jean Piccard, son of Prof. Jean Piccard,
inventor of the plastic balloon, and Dr.
Jeannette Piccard, holder of the women’s
altitude record of 57,579 feet.

RECEPTION FOR BALLOONIST

A press reception was held at the Shera-
ton Plaza for the balloonist at which the
film critics and newspaper writers did
interviews.

“The film is a fantasy, not a realistic
drama,” Piccard told the press. “The bal-
loon flight is quite acceptable as part of the
make-believe. In appearance the balloon
resembles those that were used for ob-
servation purposes during the Civil War,
and from one of which the first aerial
photographs of Boston were taken in 1862.”

Publicity from the balloon flight netted
a large amount of space in Boston news-
papers. Markle also tied up interviews for
Piccard on the balloon ascension on six
Boston radio stations and the three tele-
vision stations. The balloon ascent was
made “in an effort to revive the sport of
ballooning.” Piccard, holder of nine na-
tional and six international altitude rec-
ords, took off in a revolutionary thermal
balloon, a 20th century counterpart of the
passenger balloon seen in the Columbia
picture.

ON NATIONAL TOUR

The dramatic aerial exhibition was part
of a nationwide tour to publicize “Mysteri-
ous Island.” Within a two-week period,
Piccard visited Boston, Pittsburgh, Cleve-
land, Detroit, Chicago, Dallas and Denver,
making captive and free flights in these
cities.

Piccard’s company, Raven Industries,
provided technical advice on the balloon

Group at the Museum of
Science in Boston await
the takeoff of Jean Piccard
and his plastic-nylon
balloon. Bad weather
interferred with planned
ascensions in other cities.

sequences in “Mysterious Island” and man-
ufactured the hot air Vulcoon which is
used in the film and publicity flights. The
balloon measures 40 feet in diameter and
stands about 50-feet high when ready for
takeoff.

MADE OF PLASTIC AND NYLON

The major part of the balloon is made of
a special lamination of polyester plastic
film and parachute-type nylon. It is in-
flated by a ground-support burner which
is disconnected before the ascent. Another
burner, which consists of two 20-gallon
tanks of propane gas attached to the back
of the pilot’s seat, is used during the
flights.

“Mysterious Island” money, redeemable
in merchandise, is being used as part of a
national merchandising campaign on the
film.

In Pittsburgh, the Press distributed
“Mysterious Island” currency to its carrier
boys on a point basis. The paper pur-
chased $500 worth of children’s toys and
games for use at a prize auction for which
the bidders used the specially printed
money. Top prizes were two all-expense
paid vacation trips to New York City.

In San Antonio, ten Winn’s department
stores distributed the special money with
customer purchases. A public auction, tele-
vised live from the store over KONO-TV,
took place on the first Saturday of the San
Antonio engagement of “Mysterious
Island,” with merchandise being offered to
the highest bidders of the phony money.

In Los Angeles, Auction City, a large dis-
count store, offered the “Mysterious
Island” cash to customers with purchases
for additional discounts on merchandise.

'Bachelor' Contest
Via Tape-Recorders

Paramount Manager Art Crespin of
Amarillo, Tex., arranged a contest for
“Bachelor in Paradise.” It gave local
bachelors (over 21) and their girl friends
a chance to pick Amarillo’s “Ideal Bache-
lor.” Instead of writing in their entries the
contestants had to tape-record their
answers to “I would like to be the ‘Ideal
Bachelor’ in Amarillo because . . .,” or “I
think ... is Amarillo’s ‘Ideal Bachelor’ be-
cause . . .” in a special Bachelor’s Booth
arranged at a local music store or between
7 and 8 p.m. at the theatre.

All contestants signed cards acknowledg-
ing permission for the taped-message to be
played over KIXZ. The prizes were a com-
pact Webcor tape-recorder, a transistor
radio or four record albums.

Best Twister Selected
At 'Around the Clock'

State Manager Claude Hanley at Ama-
rillo, Tex., helped the local Arthur Murray
studio locate the best twister in a contest
which wound up at a midnight showing of
“Twist Around the Clock.” There were
auditions at the studio and the finalists
appeared on the State stage prior to start-
ing the feature. The first prize was $140, a
course of dance instructions, free passes to
the theatre for one month and a Chubby
Checker album from a local music store.
Second prise was $80, free dance instruc-
tions and two weeks of theatre passes.

BOXOFFICE Showmandiser

Jan. 8, 1962

— 5 —

What s a Good Theatre Manager?

By JERRY B. SPINN

Manager, New Colonial Theatre, Canton, N. C.

What is a good theatre manager?

He is called by many names, many of
which are far too unmentionable to ever
appear in print, and others which often are
based upon what he may happen to be
doing at the moment, such as janitor,
cashier, concessionist, doorman, usher,
errand boy, bouncer, ad-man or book-
keeper. Or upon occasion by his initials, or
just plain Tom or Bill. Each day he lives
with numerous problems, and everyday he’s
constantly on the lookout for solutions. A
good theatre manager is:

• Understanding, when it may be diffi-
cult to understand.

• Fair, when it may seem impossible to
to be fair.

• A cajoler, when oftentimes he himself
is led to the greatest heights of
anticipation and expectation, then im-
mediately and rudely aw r akened, bit-
terly disappointed by a deceptive
public,

• A coordinator , attempting always to
keep today’s efforts to the fore, while
at the same time planning days and
weeks in advance.

• An arbitrator of pros and cons on mat-
ters of public opinion, hoping always
for positive reaction at his boxoffice.

• A listener to the yeas and nays of what
constitutes a “good picture,” and
which ones children should, or should
not have been allowed to see.

• A decider of when or when not to be
any or all of the above-mentioned so

that his efforts will never be mis-
directed or wasteful.

In addition he is efficient, hardworking,
patient, impatient, aggressive and ambi-
tious for himself and for his firm.

His constant companions are work, too
little time, differences of opinion with his
booker, not enough new pictures soon
enough, budgets, advertising, promotion,
exploitation, payroll, inventory shortages,
employe relations, company and/or home-
office relations, profit and loss statements,
profit percentages, comparison figures,
petty cash and expense dollars.

No one knows better than he the mean-
ing of pressure ... by his public — his cus-
tomers, who feel they are always right —
and by his employes, who always feel they
are mistreated, misused and abused, as
well as underpaid.

He is second-guessed, loved, appreciated,
tolerated, respected, blamed, praised,
cursed, understood, misunderstood, needling
and needled, and often ignored.

The theatre manager knows the loneli-
ness of management, for every hour of
every day brings the necessity for many
decisions. Despite all the counsel from as-
sociates, above and below, it is he who says
YES or NO. He cannot afford to err in
judgment, whether it be selection of per-
sonnel, film product, program arrange-
ment, time schedules or the slant and type
of advertising, admission prices, theatre
policy or picture policy.

The good theatre manager has become
the voice, both written and spoken, of the

Sense of Humor, Too

Jerry B. Spinn overlooked one
thing, we are sure, when he wrote the
accompanying article, “What Is a Good
Theatre Manager?” for the amuse-
ment (and edification) of his col-
leagues in the Statesville (N. C.) The-
atre Corp. home office. Spinn, man-
ager of the Colonial in Canton, doesn’t
mention that a strong sense of hu-
mor is, perhaps, a necessity for a good
theatre manager, for lacking the
ability to smile and accept reverses,
endless demands on his time, judg-
ments gone wrong, and sometimes
blame and condemnation — unless he
can meet all these and keep his good
humor he would crack up under the
strain.

Spinn’s oversight is natural, of
course, since the following article itself
is positive proof that Manager Spinn
possesses in a very substantial measure
a sharp sense of humor.

☆ ☆ ☆ ☆

film industry as a whole, including its pro-
ducers, stars and distributors, and at the
same time he also is expected to be the
voice, both written and spoken, of his com-
pany or corporation.

Thus he is a reader of pressbooks, green
sheets, film industry trade journals, fea-
ture reviews, product release schedules,
story synopses, exploits and ad lines,
opinions and current production facts, fea-
ture charts, review digests, TOA bulletins,
company information bulletins, company
promotion bulletins, and by all means, his
competitors’ newspaper ads.

Although his collar is white and his
shoes are polished, he well knows the mean-
ing of long hours and hard work. For this
he has learned: To be a BETTER theatre
manager, KEEP TRYING TO BE A
BETTER THEATRE MANAGER. The re-
sult will be one of — or a combination of —
three rewards:

(1) A bigger bonus.

(2) A letter of commendation from the
home office,

(3) A complete nervous breakdown and
a long, well-earned rest!

Local People in Photos
Win Theatre Tickets

John G. Newkirk, manager of the Vine
Theatre in Willoughby, suburban Cleveland
community, passes along an idea which can
be used to advantage in situations where
the local newspaper regularly uses photos
of local people. In Willoughby, the News-
Herald daily publishes a pictorial feature
about people at work or play, something
like the old Roving Reporter idea. Newkirk
or his assistant clips these photos each day
and posts them in the lobby. Plenty of
publicity is given the standing offer of a
guest ticket to each one of the persons in
the photos who comes to the theatre box-
office.

“The idea is catching on,” Newkirk re-
ports. “The newspaper likes it, we like it
and the people like it.”

BOXOFFICE Showmandiser :: Jan. 8, 1962

Al Plough, manager of the Stanton Theatre in Philadelphia, had a horse-drawn, rubber-tired "carriage"
traveling the streets near the theatre throughout opening day of "The Comancheros." Following close
behind were riders on horseback with "Now Showing" signs on their backs. Free "Comancheros" hot
dogs were handed out at several strategic spots around the city by costumed cowgirls and Little Oscar,
a chef. Copies of the Pocketbook edition of "The Comancheros" were handed out to the first 100
patrons.

2 — G —

Tested, Low-Cost Promotion
4 For Academy Awards Show

A bug-free, low-cost Academy Awards
promotion has been developed by Karl F.
Hemleben, manager of the Capitol Theatre
in Aberdeen, S.D., in cooperation with Mike
Buttmann, owner of the opposition
Orpheum Theatre. It can be put over with-
out substantial adaptation in most any
situation by several or one theatre.

Its flexibility and ease of duplication in-
duced us to file away Manager Hemleben’s
detailed report on his 1961 Academy
Awards contest, received last April, for
publication when exhibitors are planning
their 1962 Academy Awards activity.

FIVE MERCHANTS HELP

Here's an Oscarcast display
that proved to be a real
ticket-seller, since most of
the pictures were still to
play the neighborhood the-
otre where it appeared sev-
eral weeks in advance of
the Hollywood event. It
was designed and con-
structed by Marie Olcese,
manager of the Vogue in
Detroit. Note how it high-
lights the Academy Awards,
the stars and the pictures
involved.

First, Hemleben reports, he contacted
five local merchants — Farmers & Mer-
chants Bank, Penney’s, Pred’s women’s
store, the Nelson GE and Maytag appliance
store and the Red Owl Friendly Food
Stores — to help out with the prizes for the
winners and other expenses. Each mer-
chant contributed $15 in ti-ade and $8 in
cash, the latter for the cost of printing the
contest blanks, making a total of $23 each.

In return, the five cooperating businesses
received ads on the contest blanks and
mention in the Academy Awards contest
publicity.

Five thousand contest blanks, printed by
offset (which Hemleben says is much
cheaper) , totaled $46. The $40 donated by
the merchants thus left a deficit of $6, but
this was more than covered by getting
radio station KXAB-TV to pay $10 for a
boxed notice, “Watch KXAB-TV Channel
9 . . . Academy Award Show . . . Monday
Evening, April 17,” on the front of the
contest blanks.

The contest blanks, on syaxll-inch
stock, contained the six lists — Best Actress,
Best Actor, Best Picture, Best Supporting
Actress, Best Supporting Actor and Best
Director, plus the contest rules and a blank
for name, address, age and phone number
of the contestant.

THE OSCAR RULES

The iiiles follow:

• Mail or bring your entry to either the Capitol or
Orpheum Theatre.

e Only one entry per family will be accepted.

• All contestants must be 16 years old or over.

• Please print, nome, address and age.

• All entries must be postmarked by Sunday, April
.... (day prior to Awards telecast).

• Earliest postmark will be used to break ties or
decide winners.

• All judging will be final, no entries will be re-
turned.

Be sure to fill in your name, age, address and
telephone number.

All winners will be notified by mail.

• Check only one name or picture in each box
listed below.

The blanks emphasized in bold type $200
in prizes.

The contest was started about three

weeks before the Hollywood event, on
March 24, when Hemleben arranged for a
13 -minute appearance on the KXAB-TV
Open House program. Sitting behind a
table covered with material from the
Academy Award kit, he and the announcer
discussed the contest, upcoming product
and the awards presentations on KXAB.

That same day Hemleben and Guttman
cut two tapes discussing the contest and
detailing the rules, giving the participating
merchants mention, listing the prizes, the
deadline, etc., and plugging the Academy
Award Night on TV, and also discussing
upcoming attractions at the Capitol and
Orpheum theatres. One tape ran 13
minutes, which was used March 29 and
April 6 on one radio station, and the other
ran 17 minutes, used March 30 and April
7 on another station. Both tape broad-
casts were gratis.

AN EARLY RESPONSE

That night more than 75 ballots had
been filled in and returned.

On Monday, April 10, Hemleben made
his final push over the air for the contest,
appearing over the Open House program
again for a ten-minute interview, gratis, of
course.

Large displays in the lobbies of the two
theatres proclaimed the contest, rules, etc.,
and included a box where contestants could
deposit their ballots.

Mayor Clifton Hurlburt proclaimed
Academy Award Day, which was carried
gratis on both radio and the one television
station on noon and night news programs.

The newspaper was brought into the
affair by a friendly bet between Guttmann
and Hamleben, in which each made their
selections for the Academy Awards, with
the loser buying the winner a new hat.
Their predictions, with a story on then-
bet, and their photos were published in the
March 26 Sunday paper.

More than 900 entries were received. The
winner was presented on the Friday, April
21, Open House program on KXAB-TV.
The first prize was a six-month pass for

two to the Capitol and Orpheum theatres.

Other prizes: second, three-month pass
to the Capitol and Orpheum; third, fourth,
fifth, sixth and seventh, consisted of the
gift certificates from the merchants and
bank, and one-month passes to the others.

Hemleben was the winner of the hat.

The Capitol had a spot before and be-
hind the Academy Award program on both
the TV and radio stations.

Slugs from the Academy Award kit were
used on newspaper ads starting seven days
in advance, and the Academy Award trailer
was used on the screen three weeks in ad-
vance, plugging the contest, $200 in prizes,
etc.

The Motion Picture Theatr
Is Always Your Best
Entertainment

bee the Oscar-Cast
Tomorrow Night 9:30 pn
W. V.U.E. Channel 13

BOB HOPE v. ister of Ceremonie.

WATCH FOR THESE

OUTSTANDING ATTRACTIONS

Coming Soon to Your Favorite Theatres

Get More Fun Out of Life! Take the Family to thgMov

LOEW S STATE • SAENGER
RKO ORPHEUM • JOY • CIVIC

ee the Greatest Array
of Talent Ever
l ssembled on Television

FOX
GALLO
GL08E
JEFF •V

LYCEUM
PEACOCK
ST BERNARD r:
TUDOR
UNITED

This page illustrates the promotion given the Oscar
presentations on television by theatres in New
Orleans.

BOXOFFICE Showmcmdiser : : Jan. 8, 1962

Tulip Town' Short Given Civic Debut;
Six-Day High Gross Results

The Tulip Queen and her attendants, chairmen of the Tulip Time and Flower Parade committees and
other important citizens who helped give the "Tulip Town" short a gala sendoff at the Odeon Theatre
in Spalding, Lincolnshire, England.

P. E. Skellon, veteran manager at the
helm of the Odeon at Spalding on the Lon-
don road in Lincolnshire, England, received
a “chance to shine” promotionwise when a
“Look at Life” 15-minute short titled
“Tulip Town” was booked into his theatre,
with “The Facts of Life” as the main fea-
ture. And, as his supervisor in the Cir-
cuits Management Ass’n commented, he
took full advantage of his opportunity and
earned not only an above-average gross on
the booking but also won a high rating in
the CMA Star Showmanship Year drive.

CAPTURES LOCAL COLOR

CMA operates the Odeon and Gaumont
theatres in England.

“Tulip Town” captures the color of
Spalding’s bulb and flower industry, and
as such merited a big local promotion, and
this is just what Skellon gave it.

The campaign started two weeks in ad-
vance with announcement slugs on regular
ads, and a special slide on the screen. One
week in advance and during the playdates
special, extra-space ads on the short were
used in both local papers.

Special posters from the distributor,
overprinted with playdates, etc., were put
up at newsstands and in the six leading
hotels, a department store and the bus
station at Spalding. A special banner was
used on the theatre front.

OPENING A CIVIC EVENT

The climax came on opening day, which
Skellon turned into a civic event. He had
the chairmen of the Spalding Tulip Time
and Flower Parade committees, the presi-
dent of the urban council and the Spalding
Tulip Queen and her attendants give the
short a gala sendoff. The group, number-
ing ten with wives, etc., greeted guests in
the foyer, then were introduced on the
stage. Several made brief remarks.

Skellon’s main tieup for “Facts of Life”
was with a major Spalding store based on
this copy:

“There are many ‘Facts of Life’ in run-
ning a home. You must see the 1961 royal
performance film, ‘The Facts of Life,’ star-

ring Bob Hope and Lucille Ball at the
Odeon, etc ... To help you with your Facts
of Life you can obtain all your household
equipment from Messrs. Bratley’s Stores.”
The short was held six days.

Special Kit for Tall Down'

Producer John Houseman and director
John Frankenheimer have penned byline
articles on the making of MGM’s “All Fall
Down” to be included in special portfolio
of newspaper feature stories which will be
distributed throughout the country. The
kit covering offbeat story angles is one of
the several promotional aids being devel-
oped for MGM to spotlight the film sched-
uled for an early 1962 release.

For the opening of "The Comancheros" af the Wis-
consin Theatre in Milwaukee, Manager Harry
Boesel used a 10x20-foot photo as a background at
the top of the grand stairway in the lower lobby,
for weeks in advance of opening. Also the staff of
ushers, doormen, vending girls and cashiers wore
western attire with lapel badges "The Comancheros
are coming!"

Bike Giveaway Response
More Than You Think

An energetically promoted bicycle give-
away doubled the boxoffice take on one
evening, and hiked the concession take as
well. The report comes from P. W. Stagger
of Upper Sandusky, Ohio, and concerns a
summer promotion at the Indian Trail
Drive-In, which he manages along with
the Star Theatre there.

“This is one promotion that everyone
should try; it will bring more in at the box-
office than you think,” Stagger comments.

He points out that personal contact with
merchants is necessary.

“After a lot of trips I located one mer-
chant who let me have a bicycle at whole-
sale price,” he reports. “In order to write
this expense off for the theatre, I got six
other merchants to pay for the bike, split
equally among them. In return I gave
them mention in all my newspaper ads,
plugged them at the drive-in on the mike.
This made everyone happy and stirred up
much good talk about the drive-in.”

The bike was displayed at the concession
stand with an advertising A-board. In ad-
dition, he borrowed an identical bike from
the dealer and displayed this one at the
Star Theatre with a sign, “Free! Win This
New Bicycle! Free! At the Indian Trail
Drive-In Theatre. Ask us Here for Details
on How You May Win It.”

Everyone buying a ticket at the Indian
Trail received a free chance coupon on the
bike when name and address were filled in
and the coupon deposited in a container at
the concession stand. Stagger would start
each night on the mike, telling the drive-in
patrons all about the new bike giveaway,
and repeat the pitch at intermission, etc.
Extra coupons on the bike were given away
occasionally with the purchase of popcorn,
and sandwiches.

Stagger comments he had to add extra
help at the concession stand on the night
of the drawing.

An elderly woman won the bike, but she
was happy!

Some Civic Booster Copy
For Your Theatre Herald

Here is a promotional piece that can be
used on a screen calendar or herald, with
a change of name here and there. It came
from Eastland, Tex., where Bill Samuels
manages the Majestic Theare. He used it
on a four-page folder program. It follows:

“A community is like a good football
team . . . they must work together and all
toward that goal line. To have a good pro-
gressive community all must work together,
forget the personal profit, unselfish effort
is the MUST.

“A community is just as good as the peo-
ple who live in it. Let’s all work together
toward a big . . . better . . . Eastland
County. Let’s all make touchdowns to-
gether.

“Support your football team
“Support your merchants
“Support your schools
“Support your churches

“Be proud of the record YOU make as a
citizen of Eastland County . . . analyze
your own effort before you be critical of
your neighbor.

“Let’s All Sell Eastland County and At-
tend Eastland County’s Own Majestic
Theatre.”

— 8 —

BOXOFFICE Showmandiser :: Jan. 8, 1962

An interpretive analysis of lay and tradepress reviews. Running time is in parentheses. The
plus and minus signs indicate degree of merit. Listings cover current reviews, updated regularly.
This department also serves as on ALPHABETICAL INDEX to feature releases. © is for
CinemaScope; ® VistaVision; © Superscope; © Ponavision ® Regalscope; © Tcchnirama.
Symbol denotes BOXOFFICE Blue Ribbon Award; 0 color photography. For listings by
company in the order of release, see FEATURE CHART.

/ ^CVICW DISIST

AND ALPHABETICAL INDEX

tt Very Good; + Good; — Fair; — Poor; — Very Poor.

In the summary tt- is rated 2 pluses, = as 2 minuses.

<v ~

I S

£ 2

O £

I fc

s-Jl!

I“i?=

ro ■ C <0
O.S|ZO|

2550 ©Ada (108) © Drama . . .

MGM

8- 7-61 +

2552 After Mein Kampf

(74) Semidoc'y

. . . Breraier

8-14-61 ±

2+2

—

3+3-

2546 ©Alakazam the Great

(84) Cartoon Feature

AIP

7-17-61 +

2574 Anatomist, The (73) Dr....

Gordon-SR

10-30-61 ±

—

2+3-

2562 Anatomy of a Psycho (75) Dr SR

9-18-61 —

2524 Angel Baby (97) Drama .

5-15-61 tt

8+2-

2549 Armored Command (99) War

Dr AA

8- 7-61 +

4+1-

2578 Atlantic Adventure (62)

Real-life Adv. Dr

Schoenfeld

11-13-61 +

2518 ©Atlantis, The Lost Continent

(91) Science-Fiction . . .

. . . MGM

4-24-61 tt

9+1-

2541 ©Atlas (84) Spec. VitaScope.

. Filmgroup

7- 3-61 +

— — »B' ■

2586 ©Babes in Toyland (100) Mus BV

12-11-61 +

8+1-

2583 ©Bachelor Flat (91) © Com

■ 20th- Fox

12- 4-61 +

-4-

6+1-

2576 ©Bachelor in Paradise

(109) © Com

. . . .MGM

11- 6-61 tt

+ 10+

2570 ©Back Street (107) Drama..

U-l

10-16-61 tt

10+1-

2569 Badjao (100) Action Dr

10-16-61 ±

4+1-

2545 Battle at Bloody Beach. The

(80) © War Drama

. 20th-Fox

7-17-61 +

7+4-

2531 Beware of Children (80) Com AIP

6- 5-61 +

4+1-

2526 ©Beyond All Limits (100) Dr

5-15-61 tt

2556 ©Big Gamble, The (100) © Ad. 20-Fox

8-28-61 +

7+1-

2528 ©Big Show, The (113) © Dr.

20th-Fox

5-22-61 tt

tt 10+1-

2520 ©Bimbo the Great (87) Circus

Dr.. .WB

5- 1-61 +

2+2

—

5+5-

2566 BJack Pit of Dr. M (71) Ho...

. . .UPRO

8- 2-61 ±

1+1-

2560 ©Blood and Roses (74) ®

Dr. . . Para

9-11-61 ±

2+2

7+6-

2579 Bloodlust (68) Horror

11-20-61 —

2582 ©Blue Hawaii (101) ® Com/Mus Para 11-27-61 +

-+-

6+1-

2566 Boy Who Caught a Crook (72)

Ac.. .UA

10- 2-61 +

—

±2

—

4+5-

2543 Brainwashed (78) Dr

7-10-61 ±

7+1-

2568 ©Breakfast at Tiffany’s (115)

Cy Para

10- 9-61 tt

+ n+

2554 Bridge to the Sun (112) Drama.. MGM

8-21-61 tt

tt n+

2534 ©By Love Possessed (116) Drama.... UA

6-12-61 +

2+2

8+2-

2578 ©Call Me Genius (105) Com.

. . .Cont’l

11-13-61 ±

3+2-

2583 Capture That Capsule! (75)

Action Drama

Riviera-SR

12- 4-61 ±

—

2+3—

2551 Cat Burglar, The (65) Ac Dr.

8-14-61 ±

2+1-

2588 Children’s Hour, The (109) Dr... MGM

12-18-61 tt

2558 Claudelle Inglish (99) Dr

9- 4-61 ±

7+4-

2550 Cold Wind in August (80) Dr...Aidart

8- 7-61 +

7+3-

2589 ©Colossus of Rhodes, The

(128) © Adv. Spect

. . . .MGM

12-25-61 +

6+2-

2575 ©Comancheros, The (107) ©

Outdoor Drama

.20th-Fox

11- 6-61 tt

+ 10+

2544 ©Come September (112) © Com. ..U-l

7-10-61

tt 13+

2590 Continental Twist, The (78)

Mus.. .SR

12-25-61 +

-+-

3+1-

2549 Creature From the Haunted Sea

(60) Horror Spoof

Filmgroup

8- 7-61 +

2521 Cry Freedom (90) Dr

. . Parallel

5- 6-61 ±

4+1-

2521 ©Curse of the Werewolf, The

(91) Horror Drama

U-l

5- 8-61 tt

— D —

2528 ©David and Goliath (93)

5-22-61 +

2+2

8+3—

9-11-61 +

6-12-61 ++
7-24-61 tt

+ tt + +
+ tt ±

1 +

6+1-

2559 Day the Sky Exploded, The

(SO) Science-Fiction Excelsior

2535 ©Deadly Companions, The (90)

Panav’n, Western Pathe- Am erica

2547 Dentist in the Chair (84) Com Ajay

2564 ©Devil at 4 O’Clock, The

(127) Adv. Dr Col 9-25.61 tt + tt tt tt + + 12+

2573 Devil's Hand, The (71)

Horror-Terror Crown-SR 10-30-61 ±

2588 Double Bunk (92) Farce Showcorp 12-18-61 +

2527 ©Dr. Blood’s Coffin (92) Ho UA 5-22-61 — ±

— E —

2588 ©El Cid (184) © Hist Spec AA 12-18-61 + +

2585 Errand Boy, The (92) Comedy. ... Para 12-11-61 +

2577 Everything's Ducky (80) Comedy. ... Col 11-13-61 — ±

2490 ©Exodus (212) Super-Panavision 70

Drama UA 12-26-60 ++ tt

2562 Explosive Generation, The

(90) Dr UA

2520 Fabulous World of Jules Verne, The

(81) Novelty Adv WB

2542 ©Fanny (133) Com. Dr 20th-Fox

2557 Fast Set, The (84) Comedy Audubon-SR

9-18-61 + +

5- 1-61 -H- +
7- 3-61 -H- tt
9- 4-61 ±

1 + 1 -

± ± + 4+2-

- + ± ± 4+5-

+ tt tt tt 11+

tt + 4+

± + ± + ± 6 + 5 -

tt tt tt tt tt 14+

+ + tt ± 7+1-

+ + + tt tt 10+

tt tt tt tt tt 14+

1 + 1 -

2526 ©Ferry to Hong Kong (103)

2531 Five Golden Hours (90) Comedy
2575 ©Flight of the Lost Balloon

(91) © Adventure

2563 Flight That Disappeared, The

(72) Science-F’n

2538 Follow a Star (102) Comedy . .

2580 ©Flower Drum Song (133)

® Musical U-l 11-20-61 +f

2577 ©Force of Impulse (84) Dr Sutton 11-13-61 +

2548 ©Francis of Assisi (105) ©

Religious Drama 20th-Fox 7-24-61 -H

Distributor

Reviewed

Boxoffice

Harrison's

Reports

Variety

Film Daily

Hollywood

Reporter

Parents’

Magazine

New York
Dally News

Summary

r. Sutton

11-13-61 +

20th-Fox

515-61 +

- +

—

3+2-

Col

5-61 +

— ±

tt;

6+5-

11-

6-61 +

2+2-

9-25-61 +

tt- ±

T+

tt-

7+4-

. . Zenith

6-19-61 ±

2+2

3+3—

tt tt tt

tt 12+

1 +

± + tt + + tt 10+1-

2523 Gambler Wore a Gun, The (67) W'n. .UA
2585 George Raft Story. The (105)

Biographical Drama AA

2533 ©Gidget Goes Hawaiian (102) C/M.. Col

2579 ©Gina (92) Adv. Dr Omat

2542 ©Girl in Room 13, The (79) ....Astor

2563 Girls on the Run (64) Mys Astor

2544 Goodbye Again (120) Dr UA

2481 Great Impostor, The (112) Dr U-l

2560 Great War, The (118) Drama . . . . Lopert

2540 Green Helmet, The (88) Ac MGM

2556 ^©Greyfriars Bobby (91) Drama . . . . BV

2529 Gun Fight (62) Western UA

2587 Gun Street (67) Western UA

2533 ©Guns of Navarone, The (155)

5- 15-61 ±

12-11-61 +

6- 12-61 +
11-20-61 tt

7- 3-61 +
9-25-61 ±

7- 10-61 +

11- 28-60 tt
9-11-61 +
6-26-61 +

8- 28-61 +f
5-29-61 ±

12- 18-61 ±

tt + 4+

+ tt tt + 8+1-

2 +

1 + 1 -

tt + ± tt 10+1-

tt tt tt + 12+

tt + tt 7+1-

± ± + ± 6+4-

+ tt tt tt 12+

+ + - 4+3-

1+2-

6-12-61 tt tt tt tt tt tt tt 14+

2488 Hand in Hand (75) Dr Col 12-19-60 +

2572 Head, The (95) Horror Trans-Lux 10-23-61 +

2590 Hey, Let’s Twist! (80) Musical . . Para 12-25-61 +
2535 Hitler’s Executioners (78)

Documentary Vitalite 6-12-61 ±

2539 Homicidal (87) Mys Col 6-26-61 +

2546 ©Honeymoon Machine (87)

2530 ©House of Fright (80) C Ho AIP 5-29-61 +

2565 Hustler, The (134) © Drama. ,20th-Foo< 10- 2-61 +
- I-- ■

2587 Innocents, The (100) ©

Suspense Drama 20th-Fox 12-18-61 tt

2556 Invasion Quartet (87) Com-Dr . .MGM 8-28-61 ±

tt tt
+
tt

tt +

+ +

-f- tt-

+ +

tt tt

tt 13+
3+4-

+ tt + +

3+1-

tt tt

+ H+
5+3—
tt 11+

tt tt 12+

+ ± 7+3-

6-12-61 +

10- 23-61 tt

6-26-61 +

11- 27-61 +

2574 Judgment at Nuremberg (189) Dr UA

— K—

2536 ©King in Shadow (78)

Historical Dr Exclusive

2571 y©King of Kings (161) ©

Religious Drama MGM

2540 King of the Roaring 20’s

(106) Cr. Drama AA

2582 Kitchen, The (74) Drama. ... Kingsley

— L—

2533 ©Ladies Man, The (106) Com Para

2561 ©Last Rebel, The (S3)

Adv. Dr Sterling World 9-18-61 +

2532 ©Last Sunset, The (112) W’n U-l 6- 5-61 tt

2529 Last Time I Saw Archie, The

(98) Comedy UA 5-29-61 +

2563 Lisette (S3) Action Medallion 9-25-61—

2549 ©Loss of Innocence (99) Dr Col 8- 7-61 tt

2534 ©Love in a Goldfish Bowl (87)

Comedy/Songs MGM 6-12-61 +

2590 ©Lover Come Back (107) Comedy.. U-l 12-25-61 tt
— M —

2524 Mad Dog Coll (88) Ac Dr Col 5-15-61 +

2552 ©Magic Boy (75) Cartoon Feature.. MGM 8-14-61 tt
2580 ©Majority of One, A (153)

Comedy-Drama WB 11-20-61 tt

2541 Man in the Moon (98) Com. . .Trans-Lux 7- 3-61 +

2562 Man-Trap (93) Ac Dr Para 9-18-61 +

2554 ©Marines, Let’s Go (104) ©

Service comedy 20th-Fox 8-21-61 ±

2573 Mark, The (127) © Drama Cont’l 10-30-61 -+

2546 Mary Had a Little (79) Comedy.... UA 7-17-61 ±
2576 Mask, The (S3) Depth-dimension

Horror Drama WB 11- 6-61 +

2525 ©Master of the World (104)

Science-Fiction Drama AIP 5-15-61 +f

10-30-61 tt tt tt tt tt tt tt 14+

tt tt
± tt

1 +

tt + tt 13+

+ + + 8 + 1 —
+ ± 3+1-

6-12-61 ± + + ft + ± 9+2-

± tt

+ tt

± +
-H- tt

± +
+ +

tt tt
+ +
- +

± +
+ tt
- +

- +

± tt

+ + + 9+2-

+ + 7+1-

+ tt +10+

- ± + 6+4-

tt 9+

+ ± ± 7+3-
tt tt 9+

tt tt 11+

+ tt 7+

± ± + 6+4-

± ± 6+5-

tt tt tt 12+

3+4-

tt ± ± 6+4-

tt tt + 12+1-

BOXOFFICE BookinGuide : : Jan. 8, 1962

REVIEW DIGEST

AND ALPHABETICAL INDEX

the summery 44 is rated 2 pluses, — as 2 minuses. 44 Very Good; + Good; ± Fair; — Poor; — Very Poor.

O-' »
t 8 .2
= £c|>

o e

2532 Matter at Morals. A (90)

± 7+1-

44 9+

± 5+4—
44 12+

± 7+3-
- 2+5-
± 6+3—

± 9+1-

-H- 11+1—

2545 Naked Road. The (74) Melo. ..Zison Ent 7-17-61 — 1—

2519 ©Nature Girl and the Slaver

(70) Adv UPRO 9- 1-61 ± 1+1—

2553 Never Take Candy From a Stranger

(82) Psychological Dr Omat 8-21-61 + 1+

2536 ©Nikki. Wild Dog of the North

(73) Outdoor Drama BV 6-12-61 + + + + 4444 + 9+

2574 Ninth Bullet, The (90)

Advoiture Dr Audubon-SR 10-30-61 44 2+

Drama

. .UA

6- 5-61

2518 Mein Kampf (117) Documentary . •

..Col

4-24-61

2523 ©Minotaur, The (92) © Adv

. .UA

5-15-61

—

2537 ©Misty (92) © Youth Classic 20th- Fox

6-19-61

2535 ©Morgan the Pirate (93) © Adv.

MGM

6-12-61

2538 Most Dangerous Man Alive (82) SF

Col

6-19-61

—

2569 Mr. Sardonicus (90) Ho

. Col

10-16-61

—

2587 ©Mysterious Island (101)

Anamorphic, Adv

. .Col

12-18-61

— N—

2543 Naked Edge, The (102) Susp. Dr.

. UA

7-10-61

-4-

2527 ©On the Double (92)

Paaayision Comedy Para 5-22-61 -f+ — +

2555 One Plus One (114) Dr SR 8-28-61 ± ±

2583 One, Two, Three (115) ® Comedy UA 12- 4-61 44 + 44

2510 Operation Bottleneck (78) Ac DA 3-13-61 + it

2554 Operation Camel (74) Serv. Comedy.. AIP 8-21-61 i:

2509 Operation Eichmann (92) Drama... AA 3-13-61 4f + — 4+ — +

2589 Outsider, The (108) Drama U-l 12-25-61+ ± 44 44

44 44 44 44 12+1-
± 6+4-
-H- H+

+ + ±
44 44
± + -

4+3-
1 + 1 -
+ 8+2-
6+1-

2523 ^©Parent Trap, The (124) Comedy BV

2566 Paris Blues (98) Drama/Jazz UA

2510 ©Parrish (137) Drama WB

2520 ©Pharaohs’ Woman, The (88)

2S85 ©Pirate of the Black Hawk, The

(75) © Adventure Filmgroup

25® ©Pirate and the Slave Girl, The

(87) Adv Crest-SR

2567 ©Pirates of Tortuga (97) © Adv 20-Fox

2552 ©Pit and the Pendulum, The (85)

2519 ^©Pleasure of His Company, The

(114) Comedy Para

2578 ©Pocketful of Miracles (137)

Comedy-Drama UA

2515 Portrait of a Mobster (106)

Crime Drama WB

2522 Portrait of a Smner (96) Dr AIP

2530 ©Primitive Paradise (66)

Documentary Excelsior

2570 Pure Hall of St. Trinian’s,

The (94) Farce Cont’l

2573 ©Purple Hills, The (60)

2580 ©Purple Noon (115) Murder Dr. ..Times

2561 Queen of the Pirates (80)

® Sea Adv. (Eng-dubb«d) Col

2516 Question 7 (110) Dr DeRochemont

2516 Raisin in the Sun, A (128) Dr Col

2551 Rebellion in Cuba (80) Doc Dr IFD

2564 Respectful Prostitute, The

(74) Dr. (Eng-dubbed) Times

2522 ©Return to Peyton Plate

(122) © Drama 20th-Fox

2529 ©Revolt of the Slaves (100)

2526 Right Approach, The (92)

2519 ©Ring of Fire (91)

Outdoor Action MGM

2568 Risk, The (81) Drama Kingsley

2584 ©Roman Spring of Mrs. Stone,

The (103) Drama WB

2S24 ©Romanoff and Juliet (112) Com.. U-l

2557 Rommel's Treasure (85) Ac. . . Medallion
2564 Ruffians, The (86)

Susp. Dr. (Eng-dubbed) Ellis

2558 Sand Castle, The (70)

True-Life Fantasy DeRochemont

2515 Saturday Night and Sunday

Morning (90) Drama Cont’l

5-15-61 ft
10- 2-61 44
3-13-61 44

5- 1-61 ±

12-11-61 +

9-11-61 +

44 + 44 44 44 44 13+

+ + + + + 7+

44 ± + 44 + 44 U+l-

± ± +

4+4—

- 1 + 1 -
1 +

10- 9-61

-4-

-f-

- 4 -

6+4-

8-14-61

8+1—

5- 1-61

11+

11-13-61

11+1-

+ 3-61

10+1-

5- 8-61

5-29-61

10-16-61

3+3-

10-30-61

4+1-

11-20-61

5+1-

9-18-61

-4-

3+2-

4- 3-61

10+1—

+ 3-61

12+

8-14-61

2+1-

9-25-61

-f-

2+2—

5- 8-61

9+1-

5-29-61

*4r

5+3-

5-15-61

- 4 -

5+5-

5- 1-61

9+2-

10- 9-61

12- 4-61

6+1-

5-15-61

11+

9- 4-61

9-25-61

9- 4-61

4-17-61

2464 ©Savage Innocents, The (89)

® Adv. Dr Para

2551 Scream of Fear (81) Susp. Dr Col

2569 Season of Passion (92) Dr UA

2567 Secret of Deep Harbor (70) Dr. ..UA

2575 ©Second Time Around, The (99)

2550 ©Secret of Monte Crista, The

(SO) © Adv. Dr MGM

2561 Sergeant Was a Lady, The

(72) Service Comedy U-l

2570 Seven Womoi From Hell (88)

2521 Shadow of the Cat, The

(79) Horror Drama U-l

2539 Silent Call, The (63) C Dr.. .20th-Fox

2547 ©Sins of Mona Kent, The (75)

Drama Astor

2S28 Snake Woman, The (68) Horror UA

2530 ©Snow White and the Three

Stooges (107) © Fant’y 20th-Fax

2560 ©Splendor in the Grass (124) Dr...WB

2525 ©Steel Claw, The (96) Ac WB

2536 Stop Me Before I Kill! (93)

Suspense Dr Col

2584 ©Summer and Smoke (118) © Dr. ..Para
2558 ©Son Lovers Holiday (65) ©

Novelty Astor

2568 ©Susan Slade (116) Drama. WB

— T —

2539 ^©Taimny Tefl Me True

(97) Com. Dr U-l

2555 Teenage Millionaire (84)

Musical (some color is used)....UA

2543 ©Thief of Baghdad

(90) © Ad. Fantasy MGM

2534 Three Blondes in His Life

(73) Mystery CMema Assoc

25® Three on a Spree (83) Comedy . . . . UA
2557 ©Thunder of Orums, A (97)

2542 Time Bomb (92) Suspense Dr AA

2572 Town Without Pity (105) Dr UA

2510 k>©Trapp Family, The (106)

Comedy-Drama 20th-Feoc

2541 Trouble in the Sky (76) Actlon-Dr. . . U-l

2548 Truth, The (Le Vmite) (127)

Dr., Eng. -dubbed Kingsley

2586 Trunk, The (72) Suspense Dr Col

2544 20,000 Eyes (61) © Dr 20tb-Fox

2589 Two Little Bears, The (81)

2525 ©Two Loves (100) © Drama ....MGM

2538 ©Two Bode Together (109) Dr Col

2565 Two Women (106) Dr. (Eng dubbed)

Also with titles Embassy

9-26-60 4+
8-14-61 +
10-16-61 +

10- 9-61 ±

11- 6- 61 +

8- 7-61 +

9- 18-61 +
10-16-61 +

5- 8-61 +

6- 26-61 =t

7- 24-61 +
5-22-61 ±

5-29-61 -H-
9-11-61 44

5- 15-61 ±

6- 12-61 +
12- 4-61 44

9- 4-61 it
10- 9-61 it

6-26-61 +

8-28-61 +

7-10-61 +

6-12-61 ±
9-11-61 +

9- 4-61 +
7- 3-61 +
10-23-61 ■+

3-13-61 +
7- 3-61 ±

7-24-61 44
12-11-61 +
7-10-61 +

12-25-61 ±

5- 15-61 4+

6- 19-61 44

10- 2-61 44

s .

? il

Harrison

Reports

Variety

Hollywo'

Reporter

1 }

S z

>- J

zol

Summar

2545 ©Upstairs and Downstairs

(100) Comedy 20th-F« 7-17-61 44

2553 Unstoppable Man, The (68)

Suspense Drama Sutton 8-21-61 +

— V —

2581 Valley of the Dragons (79) Adv Col 11-27-61 ±

2540 ©Voyage to the Bottom of the

Sea (105) © Ad 20th- Fox 6-26-61 +

— W—

2527 ©Warrior Empress, The (87)

2586 Weekend With Lulu, A (91) Comedy.. Col 12-11-61 4+
2567 ©West Side Story (115)

Panavision, Musical Dr UA 10- 9-61 44

2532 When the Clock Strikes (72)

Mystery UA 6- 5-61 ±

2584 Wild for Kicks (92) Dr Times 12- 4-61 ±

2537 ©Wild in the Country (114)

2565 Wild Youth (73) Dr Cinema Assoc 10- 2-61 —

2576 ©Wonders of Aladdin, The (93)

2553 ©World by Night (103)

A survey of world night spots.... WB 8-21-61 +
— XYZ —

2579 ©X-15 (112) © Dr UA 11-20-61 +

2547 You Have to Run Fast (73)

Suspense Drama UA 7-24-61 ±

2556 y Young Doctors, The (102) Dr UA 8-28-61 4+

2517 Young Savages, The (103) Dr UA 4-2+61 44

11 + 1 -

8+2-

—

■±2

-4-

—

3+5-

-R

9+1-

5+3-

5+5-

5+2-

—

6+4 —

—

5+7-

8+2-

14+

—

6+5-

6+1-

14+

1+1-

6+3-

9+2-

5+4-

- 4 -

7+2-

2+3-

—

4+3-

9+1-

2+1-

10+2—

7+3—

2+1-

3+1-

5+2-

6+3-

10+2—

12+

-4-

3+5-

84-1-

-h

2±_

7+5

14+

—

4+5-

1+1-

-¥■

7+4-

- 4 -

7+4-

-+-

6+2-

8+2-

±2

—

4+5-

13+1-

11+

BOXOFFICE BookinGuide

Jan. 8

1962

Feoturo productions by company In order of release. Running time is In parentheses. © is for Cinemascope;
V) VisfaVislon; © Superscope; ® Panovision; <g) Regalscope; ® Techniramo. Symbol O denotes BOXOFFICE
Blue Ribbon Award; © color photography. Letters and combinations thereof indicate story type— (Complete
key on next page.) For review dates and Picture Guide page numbers, see REVIEW DIGEST.

Feature chart

ALLIED ARTISTS | U

AMERICAN INT L | U

COLUMBIA | U

M-G-M | U

Time Bomb (92) D..6104

Curt Jurgens, Mylenr Demongeet

Beware of Children (80). C 606
Leslie Phillips, fSeraldine McEwan,
Julia l,ockvroo<1

A Raisin in the Sun (128). D .533
Sidney Pnifier. Claudia McNeil

The Terror of the Tongs

(80) Ac 530

Geoffrey Toone. Christoper Lee

Angel Baby (97) D..6105

Joan Blondell, George Hamilton,
Mercedes McCambrldge, Salome Jens

©David and Goliath

(93) © Bib D..6106

Orson Welles, ivo Payer,

Pierre Cressoy

Mad Dog Coll (88) Cr..534

K. Donbleday, B. nayward
Five Golden Hours (90) . . . . D . 539
Ernie Kovacs, Cyd Charisse
Stop Me Before 1 Kill

(93) © 0 .535

Claude Dauphine, Diane ©lento

Mein Kampf (117) Doc.. 538

©Warrior Empress (87)

Kerwin Mathews. Tina Louise

©Atlantis, the Lost

Continent (90) Ad . 113

Joyce Taylor, Anthnny Hall

©Two Loves (100) © . D..117
Shirley MaeLaine. Laurence Harvey,
Jack Hawkins

King of the Roaring 20’s

(106) Cr. .6107

David J;ui6sen, Diane Foster,

Jack Carson, Diana Dors,

Mickey Rooney

Brainwashed (78) 0..6108

Curt Jurgens, Claire Bloom

©Master of the World

(104) SF..607

Vincent Price, Charles Bronson,
Henry Hull, Mary Webster

©House of Fright (80) ..Ho . 604
Paul Massie, Dawn \ddams

Operation Camel (70) ....C..605

Nora Hayden, Louise Renard

Homicidal (87) Ho. 540

Glenn Corbett. Patricia Breslin

Most Dangerous Man Alive

(82) Ac 541

Ron Randell, Debra Paget.

Elaine Stewart

©Ring of Fire (91) Ac.. 119

David Janssen, Joyce Taylor,

Frank Gorshin

The Green Helmet (88) ..Ac . 116
Bill Travers, Ed Begley.

Nancy Walters

Armored Command (99) ..Ac. .6109
Howard Keel, Tina Louise

©Alakazam the Great (84) An. . 608
Cartoon feature, with voices of
Frankie Avalon and others

JULY-AUGUST
©Gidget Goes Hawaiian

(102) © D 603

James Darren, Deborah Walley,
Michael Callan. Vicki Trickett
©The Guns of Navarone

(155) © D. .603

Gregory Peck, David Niven
©Two Rode Together

(109) 0D 602

James Stewart, Richard Wldmark,
Shirley Jones. Linda Crlstal

©Morgan the Pirate

(93) © Ad.. 120

Steve Reeves. Valerie Lagrange
©The Honeymoon Machine

(87) © C. .122

Steve McQueen. Paula Prentiss,
Brigid Bazlen, Jim Hutton

©Magic Boy (75) An . 107

Feature-length cartoon
©The Secret of Monte

Cristo (80) © Ad. 121

Rory Calhoun. Patricia Bredln

©The Pit and the Pendulum

(85) Panavision Ho. 609

Vincent Price, John Kerr.

Barbara Steele, Liana Anders

©Ada (108) © 0..124

Susan Hayward. Dean Martin,
Ralph Meeker

©Thief of Baghdad (90) © Ad. .123
Steve Reeves. Georgia Moll

Scream of Fear (81) D. .605

8usan St.rasberg. Ronald l^wls

The Trunk (72) D 606

Phil Carry, Julia Aroall

©A Thunder of Drums

(97) © OD .201

Richard Rood©, George Hamilton.
Lai ana Palter

Twenty Plus Two (102) . . My. .6110
David Janssen. Jeanne Crain,

Dina Merrill. Agnes Moorehead

©The Devil at 4 O'clock

(127) D. .607

Rpencer Tracy, Frank Sinatra

©Loss of Innocence (99) . D . 608
K. More, D. Darrieux, S. York

A Weekend With Lulu (91) . C. .609
Leslie Phillips. Itob’t Monkhouse

Bridge to the Sun (112) ..D..202
Carroll Baker, James Shigeta

Invasion Quartet (87) . . . .CD . .203
Bill Travers. 8pike Milligan

©Guns of the Black Witch

(81) © Ad.. 610

Don Megowan, Silvana Pampanlnl

Mr. Sardonicus (90) ...Ho.. 611

Oscar Homolka, Guy Rolfe

Valley of the Dragons (79) Ad. .612
Sean McClory

Everything's Ducky (81) . C..610

Mickey Rooney. Buddy Hackett

Queen of the Pirates

(80) ® Ad. 604

Gianna Maria Canale. M. Serato

©Colossus of Rhodes

(128) © Ad 204

Hory Calhoun, Lea Massart

©Bachelor in Paradise

(109) © C..205

Bob Hope. Lana Turner, Janis Paige,
Jim Hutton, Paula PreDtiss

The George Raft Story

(105) D. 6111

Ray Danton, Jayne Mansfield,
Julie London, Barrie Chase

©Journey to the Seventh

Planet (SO) SF..613

John Agar. Greta Thyasec

Lost Battalion (83) Ac.. 611

Leopold Salcedo, Diane Jergens

Cash on Demand (84) . Ac.. 615

Peter Cushing. Andre Morell

©Mysterious Island (101) Ad.. 613
(Super-Dynamation), anamorphic
Michael Craig, Joan Greenwood.
Mkhael Callan, Gary Merrill

Sail a Crooked Ship (88) .. C. . 614
Robert Wagner, Dolores Hart.
Carolyn Jones, Ernie Koracs
(pre-release)

©The Wonders of

Aladdin (93) © Ad.. 206

Donald O’Connor, Vittorio de Sica,
Noelle Adam

Too Hot to Handle (. .) D. .

Jayne Mansfield, Leo Genn

©Prisoner of the Iron Mask

(SO) © Ad. 701

Michael Lemoine, Wandisa Guida

Twist Around the Clock

(83) M 616

Chubby Checker, Dion, the Marcels,
Vicki Spencer

©The Hellions (..) D..

Richard Todd, Anne Aubrey

©Light in the Piazza

(105) © M. .616

Olivia de HaviUand, Rossano
Brazzl, George Hamilton, Yvette
Mimleux

©All in a Night’s

Work

(94)

C. .6010

Shi ley MaeLaine.

Dean Martin,

('1 iff Robertson

PARAMOUNT

©One-Eyed Jacks (141) 0D..6014
'.Marlon Brando, Karl Malden,
Katy Jurado. Pina Pelllcer

©Love in a Goldfish Bowl

(88) © C/M.. 6018

Tommy Samis. Fabian. .Ian Sterling

JUNE-JULY-AUGUST
k_j©The Pleasure of His
Company (114) CD.. 6017

Fred Astaire, Debbie Reynolds

©The Ladies Man (96) . C..6017

Jerry Lewis, Helen Traubel

©On the Double (92) ® C. 6016

Danny Kaye, Dana Wynter

©Blood and Roses (74) ® D .6101
Mel Ferier, Annette Vadim.

Elsa MartinelH

Man-Trap (93) D..6102

Jeffrey Hunter, Stella Stevena,
David Janssen

©Breakfast at Tiffany’s

(115) CD.. 6103

Audrey Hepburn, George Peppard

©Blue Hawaii (101) ® C/M.. 6105

Elvis Presley, Joan Blackman,

Angels Lansbury

The Errand Boy (92) . . . .C. .6105
Jorry Lewis. Brian Donlevy

Hey, Let’s Twist! (80) M..6108

Joey Dee and the Starliters,

Teddy Randazzo, Kay Armen

Too Late Blues (100) D..6109

Bobby Darin, Stella Stevens

BOXOFFICE BookinGuide :: Jan. 8, 1962

JUNE JULY I AUGUST I SEPTEMBER I OCTOBER I NOVEMBER I DECEMB

FEATURE CHART

Th* key t* letters omd combinations Thereof rruficatmg story type: (Ad) Adventure Drama; (Ae) Action
Drama; (An) Animated-Action; (C) Comedy; (CD) Comedy-Drama; (Cr) Crime Drama; (DM) Drama
with Music; (Doe) Documentary; (D) Drama; (F) Fantasy; (FC) Farce-Comedy; (Ho) Horror Drama; (Hi)
Historical Drama; (M) Musical; (My) Mystery; (OD) Outdoor Drama; (SF) Science-Fiction; (W) Western.

20TH-FOX | ti

UNITED ARTISTS I ti

UNIVERSAL-INT L | U

WARNER BROS. | U

COMING

APRIL I

©All Hands on Deck

(98) © M 112

Pat Boone, Barbara Eden.

Buddy Hackett
©Ferry to Hong Kong

(103) © Ad . 110

Orson Welles. Curl Jurgens,

Sylvia Sytns
©The Fiercest Heart

(91) © 0D..129

Smart Whitman. Juliet Prowse

©The Minotaur (92) ©. Ad. .6115
Rob Mathias, Rnsamva Schiaffino

©Tomboy and the Champ

(92) OD .6110

Candy Moore, Ben Johnson,

Rex Allen

The Secret Ways (112) . .D. .6109
Richard Widmark, Sonja Ziemann

©The Sins of Rachel Cade

(123) D .003

Angie Dickinson, Peter Finch,
Roger Moore

Portrait of a Mobster

(108) Ac.. Oil

Vic Morrow, Ray Danton

ALLIED ARTISTS

The Big Wave Ad..

Sessue Ilayakawa

Billy Budd D .

Peter Ustinov, Robert Ryan

©El Cid © D . .

Charlton Heston, Sophia Loren
©Day of the Triff ids © ....SF..
Howard Keel, Nicole Maurey

Hitler BiD . .

Richard Basehart, Maria Emo

AMERICAN-INT'L

Burn, Witch, Burn Ho..

Janet Blair. Peter Cushing

©Premature Burial ® Ho..

Ray Milland, Hazel Court

COLUMBIA

©Barabbas © D .

Anthony Quinn, Sllvana Mangano,
Jack Palance. F.rnest Borgnine

Walk on the Wild Side D..

Laurence Harvey, Capudne,

Anne Baxter, Jane Fonda

13 West Street D

Alan Ladd, Rod Steiger

The Notorious Landlady C

Jack Lemmon, Klnv Novak,

Fred Astaire

Advise and Consent D

Charles Laughton, Henry Fonda,
Walter Pidgeon, Gene Tierney

©Best of Enemies CD..

David Niven, Alberto Sordi,
Michael Wilding

MGM

©Four Horsemen of the

Apocalypse © D

Glenn Ford, Ingrid Timlin.

Charles Royer, Lee J. Cobb
©Mutiny on file Bounty

(Ultra Panavision-70) ...Ad..
Marlon Brando, Trevor Howard.
Hugh Griffith. Tarita
iS©King of Kings © ....Bib D..
Jeffrey Hunter, Siobhan McKenna

1 AVW

©Return to Peyton Place

(122) © D 126

Carol Lynley, Eleanor Parker.

Jeff Chandler. Tuesday Weld
The Right Approach

(92) © D/M 127

Frankie Vaughan. Juliet Prowse.
Martha Hyer. Gan' Crosby
©The Big Show (113) © Ad.. 123
Esther Williams, Cliff Robertson.
David Nelson

A Matter of Morals (90) D. 6108
Maj-Britt Nilsson. Patrick
O'Neal, Eva Dahlback
The Young Savages (103) . . D . .6114
Burt Lancaster, Shelley Winters,
Dina Merrill
The Gambler Wore a

Gun (67) W 6109

Jim Davis, Merry Anders

Gun Fight (62) W. .6113

James Brown, Joan Staley

©Posse From Hell (89) . W. 6112
Audie Murphy, John Saxon,
Zohra Lampert
©The Pharaoh's Woman

(88) © Ad. .6113

Linda Cristal, John Drew
Barrymore

©Ole Rex (40) Featurette. .6114
Rex (dog star), Billy Hughes,
William Foster

©The Steel Claw (96) ... .Ac. .012
George Montgomery, Charlto Luna

Battle at Bloody Beach

(80) © Ac.. 128

A. Murphy. 0. Crosby. D. Michaels

©Wild in the Country

(114) © D/M.. 129

E. Presley, H. Lange. T. Weld

©Snow White and the Three

Stooges (107) © C. 130

Carol Heiss, Stooges

Snake Woman (68) ....Ho . 6112

John McCarthy, Susan Travers

©Dr. Blood's Coffin (92) Ho. 6111
Kieron Moore, Hazel Court

©Revolt of the Slaves

(100) © Ad 6117

Rhonda Fleming, Lang Jeffries

©Romanoff and Juliet

(112) C. .6106

P. Ustinov, S. Dee. J. Gavin
©Curse of the Werewolf

(91) Ho. .6115

Clifford Evans, Yvonne Romaln
The Shadow of the

Cat (79) Ho.. 6116

Barbara Shelley, Andre Morell
©The Last Sunset (112) 0D..6117
Rock Hudson, Kirk Douglas,
Dorothy Malone, Joseph Cotten

The Fabulous World of

Jules Verne (81) ....Ad.. 013

Ernest Revere. Louis Locke

©Bimbo the Great (87) . .Ad . .014

Cliarles Holm, Mary Ann Shields

JULY

©Misty (92) © 0D..131

David Ladd, Arthur O'Connell

©Voyage to the Bottom of

the Sea (105) © Ad .133

Walter Pidgeon, Joan Fontaine.
Barbara Eden, Frankie Avalon

The Silent Call (63) D . .119

Roger Mobley, David McLean,

Gail Russell

©By Love Possessed (116)

Panavision D..6119

Lana Turner, Efrem Zimbalist jr.
The Last Time 1 Saw Archie

(98) C. 6118

Robert Mitchura, Jack Webb
When the Clock Strikes

(72) My. .6116

James Brown, Merry Anders
The Naked Edge (102) My. .6120
Gary Cooper. Deborah Kerr

Trouble in the Sky (76) . Ac. 6118
Michael Craig. Elizabeth Seal

0©Tammy Tell Me True

(97) CD.. 6119

Sandra Dee. John Gavin

©Parrish (137) D..015

Troy Donahue, Claudette Colbert,
Karl Malden, Connie Stevens

©Fanny (133) D/M .016

Leslie Caron, Maurice Chevalier,
Charles Boyer, Horst Buchholz

AUGUST |

©Marines. Let's Go (104) © C. .137
David Hedison. Tom Tryon.

Linda Hutchins

©The Big Gamble (100) © D..134
Stephen Boyd, Juliette Greco,
David Wayne

Goodbye Again (120) . D. .6125

Ingrid Bergman, Yves Montand.
Anthony Perkins

The Cat Burglar (65) ..Ac . 6121
Gregg Palmer, June Kenney

Teenage Millionaire (84)

(partly in color) .... C/M . . 6126
Jimmy Clanton, Zasu Pitts,

Rocky Graziano

Blast of Silence (77) . D..6120
Allen Baron, Molly McCarthy

Doris Day, Stephen Boyd,

Jimmy Durante

©Two Weeks in Another Town
Kirk Douglas, Edw. G. Robinson,
Cyd Charisse, Geo. Hamilton

PARAMOUNT

©Escape From Zahrain D..

Yul Brynner, Madlyn Rhue
©Summer and Smoke

(118) © D. 6107

Laurence Harvey, Geraldine Page

©Hatari! Ad..

John Wnyne. Red Buttons
Hell Is for Heroes (..) . .D..6111
Steve McQueen, Bobby Darin
Fess Parker, Bob Newhart

©My Geisha C..

Shirley MacLaine. Yves Montand,
Rnb’t Cummings. Edw G. Robinson
©Siege of Syracuse (100) Ad.. 6110
Rossano Brazzi, Tina Louise

Brush Fire (. .) D. .6112

John Ireland, Jo Morrow,

Everett Sloano

20TH-FOX

©It Happened in Athens © ..Ad..
Jayne Mansfield. Nlco Minardos
©Tender Is the Night ©....D..
Jennifer Jones, Jason Robards jr.
Joan Fontaine, Jill St. John

The Innocents © D 138

Deborah Kerr. Michael Redgrave
UNITED ARTISTS

©The Magic Sword

Rasil Rathbone. Estelle Winwood

Birdman of Alcatraz D..

Burt Lancaster, Karl Malden

The Children's Hour D..

Audrey Hepburn, Shirley MacLaine,
James Garner

©Sergeants 3 (Panavision) .. OD . .
Frank Sinatra, Dean Martin

Phaedra D . .

Melina Mercouri, Tony Perkins

UNIVERSAL-INT'L

©Cape Fear D . .

Gregory Peck, Polly Bergen

The Outsider D

Tony Curds, J,is. Franclscus

©Lover Come Back C. .

Rock Hudson, Doris Day, Tony
Randall, Erlie Adams
©The Spiral Road (Panav’n) . . D .
Rock Hudson, Burl Ives,

Gena Rowlands

Freud BID..

Montgomery Clift, Susannah York,
Susan Kohner

©Six Black Horses Ac..

Audie Murphy, Joan O’Brien

WARNER BROS.

©Merrill’s Marauders Ac..

Jeff Chandler. Ty Hnrdm

©The Music Man © M..

Robert Preston, Shirley Jones
©A Majority of One (153) . . C. .153
Rosalind Russell, Alec Guinness

©Lad, a Dog D .

Peter Breck, Peggy McCay

SEPTEMBER |

©Francis of Assisi (105) © D. .132
Bradford Dlllman, Dolores Hart,
Stuart Whitman

©September Storm (90) . Ad .139
Joanne Dru, Mark Stevens
(35mm release)

20,00 Eyes (61) © Cr..l24

O. Nelson, M. Anders, J. Brown

©Upstairs and Downstairs

(100) C..12S

Michael Craig, M. Demongeot

You Have to Run Fast

(71) Ac. 6122

Craig H11L Elaine Edwards
Three on a Spree (83) . . .C. .6123
Jack Watllng, Carole Lesley
QThe Young Doctors (102) D. .6128
Fredrlc March, Ben Gazzara,
Ina Balln, Dick Clark
©Exodus (212)

Panav-n 70 D. .6129

P. Newman, E. M. Saint, 8. Mlneo

©Come September

(112) © C . .6121

Rock Hudson, Gina Lollobrigida,
Sandra Dee. Bobby Darin

©World by Night

(103) Doc. 151

A tour of world-famed night spots

Claudelle Inglish (99) ....D..155
Diane McBaln, Arthur Kennedy,
Will Hutchins. Constance Ford

OCTOBER

The Hustler (134) © — .D..136
P. Newman, P. Laurie, J. Gleason

Seven Women From Hell

(88) © Ac. 140

Patricia Owens. Denise Darcel,
Cesar Romero, John Kerr

©Pirates of Tortuga

(97) © Ad .135

Ken Scott, Leticia Roman

The Flight That Disappeared

(72) SF. .6129

Boy Who Caught a

Crook (72) D. 6127

Craig Hill. Paula Raymond
Town Without Pity (105) . . D . .6135
Kirk Douglas, Christine Kaufman
Secret of Deep Harbor

(70) Ac.. 6130

Explosive Generation (90) D..6134
Season of Passion (92) . D. .6133
A. Baxter. E. Borgnine, J. Mills

©Back Street (107) . ...D..6201

Susan Hayward, John Gavin

©Splendor in the Grass

(124) 0 154

Natalie Wood, Warren Beatty,

Pat Hingle, Audrey Christie

| NOVEMBER |

©The Comancheros (107)

John Wayne, Stuart Whitman

©The Purple Hills (60) © Ac.. 142
Gene Nelson, Joanna Bames.

Kent Taylor

Paris Blues (98) D..6131

Paul Newman. Joanne Woodward

©X-15 (112) ® D. .6137

Charles Bronson, Brad Dexter

Dead to the World (89) Ac.. 6202
Rudy Talton, Jana Pearce

Gun Street (67) W. .6136

James Brown, Jean Wllles

The Sergeant Was a

Lady (72) C..6202

Martin West, Venetia Stevenson,
Bill Williams

©Susan Slade (116) D..157

Troy Donahue, Connie Stevens.
Dorothy McGuire. Lloyd Nolan

The Mask (S3) D..156

Depth-Dimension

Paul Stevens, Claudette Nevlna

[ DECEMBER

©The Two Little Bears

(81) © F/M..143

Brenda Lee, Eddie Albert.

Jane Wyatt, Jimmy Boyd

©The Second Time Around

(99) © C..144

Debbie Reynolds, Steve Forrest,
Andy Griffith, Thelma Ritter,

Juliet Prowse, Ken Scott

©Pocketful of Miracles

(137) CD . 6204

G. Ford, B. Davis, H. Lange
Judgment at Nuremberg

(189) 0 6206

S. Tracy, B. Lancaster, R. Widmark,
M. Dietrich, M. Clift, J. Garland
(pre-release)

One, Two, Three (115) ® C..6208
James Cagney, Horst Buchholz,
Arlene Francis. Pamela Tiffin

©Flower Drum Song

(133) © M .6203

Nancy Kwan, James Shigeta,
Miyosfd Umekl
(pre-release)

©The Roman Spring of

Mrs. Stone (103) D..159

Vivien Leigh, Warren Beatty

JANUARY

©Bachelor Flat (91) ©..C..201
Terry-Thomas, Tuesday Weld,
Richard Beymer, Celeste Holm

Madison Avenue (94) © . 0. 202
Dana Andrews, Eleanor Parker,
Eddie Albert, Jeanne Crain

Mary Had a Little (79) . .C. .6203

Agnes Laurent, John Bentley,
Hazel, Jack Watling

Something Wild (112) . . . .0 . 6210
Carroll Baker. Ralph Meeker

©The Singer Not the Song

(129) © D 152

Dirk Bogarde, John Mills,

Mylcne Demongeot

BOXOFFICE BookinGuide :: Jan. 8, 1962

FEATURE CHART

Short subjects, listed by company, in or- m m ^ _ m

der of release. Running time follows title. BJ fm g ^ g SB M

Date is national release month. Color and MB Bm B M B JtM Bm B

process os specified. B B B 1 B tj Mm B B B\ t

MISCELLANEOUS

Prod.

No.

Rel.

Date

Prod

No.

Rel.

Date

Prod.

No.

Rel.

Date

AIDART

Cold Wind in August, A

(SO) Aug 61

Lola Albright, Scott Marlowe,
Herschel Bernardi

BUENA VISTA

tjThe Absent-Minded Professor

(97) C.. May 61

Fred MacMurray, Nancy Olson,
Keenan Wynn, Tommy Kirk

CS©The Parent Trap

(123) C. . Jul 61

Maureen O’Hara, Brian Keith,
©Nikki, Wild Dog of the

North (73) Ad.. Jul 61

Jean Coiitu. Nikki (dog star)
£>©Greyfriars Bobby (91) D.. Oct 61
Donald Crisp, Kay Walsh
©Babes in Toyland

(100) © M . . Dec 61

Bay Bolger, Tommy Sands,

Annette, Ed Wynn
CONTINENTAL
Saturday Night and Sunday

Morning (90) D . Apr 61

Albert Finney, Shirley Ann Field
The Long and the Short and

the Tall (102) D . Sep 61

Laurence Harvey, Richard Todd
The Pure Hell of St. Trinian's

(94) C.. Sep 61

Joyce Grenfell, Cecil Parker,

George Cole

The Mark (127) © D . . Oct 61

Rod Steiger, Marla Schell,

Stuart Whitman

©Call Me Genius (105) C. . Oct 61
Tony Hancock, George Sanders
Never Let Go (..) ... D. Nov 61
Peter Sellers, Richard Todd,
Elizabeth Sellars
View From the Bridge, A

(..) Jan 61

Carol Lawrence. Raf Vallone,
Maureen Stapleton
CREST FILMS

Code of Silence (75) . .Cr. . Feb 61
Terry Becker, Elisa Loti
©Pirate and the Slave Girl

(87) © Ad. Aug 61

Lex Barker, Clielo Alonso
FILMGROUP

©Atlas (84) VitaScope Spec. May 61
Michael Forest, Frank Wolf,
Barboura Morris
Creature From the

Haunted Sea (60) HoC..Sep61
Antony Carbone, Betsy Jones-More-
land

The Devil's Partner (75) Ac Sep 61
Ed Nelson, Jean Allison, Edgar
Buchanan

©The Pirate of the Black

Hawk (75) © Ad. .Dec 61

Mijanou Bardot, Gerard Landry

GOVERNOR

Carry On, Nurse (89) C..

Kenneth Connor, Shirley Eaton

1 Carry On, Constable (86) C . Feb 61
Ken Connor. Leslie Phillips
KINGSLEY-UNION
Risk, The (81) ...D. . . Oct 61

Tony Britton, Peter Cushing
K. GORDON MURRAY
©Santa Claus (94) . . . F . . Nov 60

Narrated by Ken Smith
©Little Angel (90) . .CD . Jan 61

Maria Gracia. J. M. de Hoyos
LOUIS DE ROCHEMONT

Question 7 (110) D . Apr 61

Michael Gwvnn, Margarete Jahnen
The Sand Castle (70) ..F.. Sep 61
Barry and Laurie Cardwell
OMAT

©Beyond All Limits

(100) D . May 61

Jack Palance, Maria Felix
Never Take Candy From a

Stranger (82) D . Oct 61

Jean Carter, Felix Aylmer

©Gina (92) Ad.. Nov 61

Simone Signoret. Georges Marchal
PATHE-AMERICA
©The Deadly Companions

(90) Panavision .. .W . Jul 61
Maureen O'Hara, Brian Keith,

Steve Cochran, Chill Wills

RCIP

The Devil’s Commandment

(71) © Ho. .Jan 61

Gianna Maria Canale, Carlo
D’Angelo. Charles Fawcett

Mark of the Devil (73) D.. Jan 61
Maria Felix, Crox Alvarado
SHOWCORPORATION
Two-Way Stretch (87) C Apr 61
Peter Sellers. Wilfrid Hyde White
Double Bunk (92) ...S. Nov 61

Ian Carmichael, Janette Scott,
Sidney James

©Midsummer Night’s Dream

(74) F . Dec 61

(Puppets; voices of Old Vic Players)
UNITED PRODUCERS (UPRO)
Black Pit of Dr. M.

(72) Ho.. Mar 61

Ralph Bertrand. Gaston Santos

Siege of Sidney Street

(93) Ad . . Mar 61

Peter Wyngarde, Donald Sinden
©Nature Girl and the Slaver

(70) Ad . May 61

Marian Michael, Adrian Hoven

Jet Storm (91) D.. Sep 61

Richard Attenborough, Stanley
Baker, Diane Cilento, Mai
Zetterling

VALI ANT-VITAL ITE

It Takes a Thief (94) , . D . Feb 61
Jayne Mansfield, Anthony Quayle
Hitler's Executioners

(78) Doc . Jun 61

WOOLNER BROS.

©Flight of the Lost Balloon

(91) © Ad.. Oct 61

Mala Powers, Marshall Thompson

COLUMBIA

ASSORTED & COMEDY FAVORITES
(Reissues)

5436 Man or Mouse (18) . Jun 61

6421 Hot Heir (16>/ 2 ) Sep 61

6431 Caught on the Bounce

(15>/ z ) Oct 61

6432 Pleasure Treasure

(16) Nov 61

6433 Dance, Dunce, Dance

(lS'/ 2 ) Dec 61

6422 Parlor, Bedroom and

Wrath (16) Nov 61

6423 Flung by a Fling (16).. Dec 61

6434 The Fire Chaser (16) Jan 62

CANDID MICROPHONE
(Reissues)

5555 No. 5, Ser. 2 (11) . . Mar 61

5556 No. 6, Ser. 2 (10y 2 ) . . Jul 61

6551 No. 1, Series 3 (11) Sep 61

6552 No. 2, Series 3 (10) Nov 61

6553 No. 3, Series 3 (10'/ 2 ) Jan 62

COLOR SPECIALS
5502 Rooftops of New York

(10) May 61

COLOR FAVORITES
(Technicolor Reissues)

5613 The Jaywalker (6Vi) May 61

5614 Topsy Turkey (6>/4) ..Jun61

5615 Punchy de Leon (6*/ 2 ) . .Jul 61

6601 Red Riding Hood Rides

Again (7) Sep 61

6602 The Music Fluke (7) Sep 61

6603 Imagination ( 6/2 ) .... Oct 61

6604 The Miner’s Daughter

(6'/ 2 ) Nov 61

6605 Grape-Nutty (6) Nov 61

6606 The Popcorn Story

(6'/ 2 ) Dec 61

6607 Cat-Tastrophy (6) . . . .Jain 62

6608 Wonder Gloves (7) . . . .Jan 62

FILM NOVELTIES
(Reissues)

5835 Community Sings

No. 1. Ser. 13 (10) Mar 61

5854 Yukon Canada (10)... Apr 61

LOOPY de LOOP
(Color Cartoons)

5707 Fee Fie Foes (<%) Jun 61

5708 Zoo Is Company (6?/ 2 ) Jul-61

6701 Catch Meow (6*/ 2 ) . . . .Sep 61

6702 Kooky Loopy (7) Oct 61

6703 Loopy’s Hare-Do (7) . . Dec 61

6704 Bungle Uncle (7) Jan 62

MR. MAGOO REISSUES
(Technicolor)

5756 Magoo’s Canine Mutiny
(Both © end standard) ..Apr 61

5757 Capt. Outrageous (7) May 61

5758 Magoo Goes West (6).. Jul 61

6751 Safety Spin (7) Sep 61

6752 Calling Dr. Magoo

( 6 / 2 ) (© and standard) Oct. 61

6753 Magoo’s Masterpiece (7) Nov 61

6754 Magoo Beats the Heat

(6) (Both © and standard) Dec 61

SPECIAL COLOR FEATURETTES

5442 Splendors of Paris

(19) May 61

5443 Wonderful Greece (19) Jun-61

6441 Images of Luangua

(18) Oct 61

6442 Wonderful Israel (19) . . Dec 61

SERIALS

(15 Chapter-Reissues)

4160 King of the Congo ..Jun 60
5120 Son of Geronimo ...Nov 60
5140 The Great Adventures of

Captain Kidd Mar 61

5160 Cody of the Pony

Express Aug 61

STOOGE COMEDIES
(Reissues)

5405 Knutsy Knights

(17>/ 2 ) Feb 61

5406 Shot in the Frontier

(16) Apr 61

5407 Scotched in Scotland

(15>/ 2 ) May 61

5408 Fling in the Ring

(16) Jul 61

6401 Quiz Whiz (15l/ 2 ) Sep 61

6402 Fifi Blows Her Top

(16>/ 2 ) Oct 61

6403 Pies and Guys (IQ/ 2 ) Nov 61

6404 Sweet and Hot (17).. Jan 62

THRILLS OF MUSIC
(Reissues)

5953 Skitch Henderson & His

Orchestra (10) Feb 61

5954 Boyd Raeburn & His

Orchestra (11) May 61

WORLD OF SPORTS

5802 Hip Shooters (9»/ 2 ) . . Feb 61

5803 Water-Sports Champs

(10) Apr 61

5804 Dogs Afield (10*/ 2 ) Jun 61

6801 Aqua Ski-Birds (9y 2 ) ..Oct 61

M-G-M

GOLD MEDAL REPRINTS
(Technicolor Reissues)

All 1.75-1 Ratio
Tom and Jerrys

W261 Pet Peeve (7) Sep 60

W262 Mice Follies (7) ...Sep 60
W263 Touche Pussy Cat (7) Sep 60
W265 Southbound Duckling

(7) Sep 60

W266 Neopolitan Mouse (7) Sep 60
W267 Pup on a Picnic (7) Sep 60
W269 Downhearted Duckling

(7) Sep 60

W272 Mouse for Sale (7).. Sep 60

W273 Cat Fishin’ (S) Sep 60

W274 Part Time Pal (8).. Sep 60
W275 Cat Concerto (7) ... Sep 60
W276 Dr. Jekyl and Mr.

Mouse (7) Sep 60

(1961-62)

W361 Switchin’ Kitten (9) Sep 61
W362 Down and Outing (7) Oct 61
W363 Greek to Me-ow (..) Dec 61

PARAMOUNT
COLOR SPECIALS
(2 Reels)

B20-1 Carnival In Quebec

(16) Sep 60

B20-2 Boats a-Poppin' (18)

(Anamorphic) Sep 60

B20-3 Lifeline to Hong Kong

(17) Anamorphic Apr 61

B21-1 Spring in Scandinavia

(15) Nov 61

B21-2 Fireaway, Story of a

Trotter ( . . ) Nov 61

MODERN MADCAPS
(Technicolor)

M20-4 Phantom Moustacher

(6) Jan 61

M20-5 Kid From Mars (6) Mar 61
M20-6 Mighty Termite (6) Jun 61

M21-1 Plot Sickens (. .) Oct 61

M21-2 Crumley Cogwheel (..) Oct 61
M21-3 Popcorn &

Politics ( . .) Nov 61

N0VELT00N

(Technicolor)

P20-3 The Lion’s Busy (6) . . Mar 61
P20-4 Goodie the Gremlin

(6) Apr 61

P20-5 Alvin’s Solo Flight (7) Apr 61
P20-6 Hound About That (6) Jun 61

621-1 Munro (9) Sep 61

P21-2 Turtle Scoup (..)... .Sep 61
P21-3 Kozmo Goes to

School K . ) Nov 61

POPEYE CHAMPIONS
E21-1 Fireman’s Brawl (..) Sep 61
E21-2 Toreadorable ( . . ) . .Sep 61

E21-3 Popeye, the Ace of

Space (..) Sep 61

E21-4 Shaving Muggs (..) Sep 61
E21-4 Taxi Turvey ( . . ) . . Sep 61

E21-6 Floor Flusher (..) Sep 61
SPORTS ILLUSTRATED
(Anamorphic — Color — 1 Reel)
D20-4 Ten Pin Tour (9) .... Apr 61

D20-5 Speedway (10) May 61

CARTOON SPECIAL
A-21 Abner the Baseball 2 Reel

(12 , / 2 ) Sep 61

TRAVELRAMA
(Anamorphie-Color-1 Reel)
T20-1 Porpoise Posse (10) . . Mar 61

20th CENTURY-FOX

MOVIETONE CINEMASCOPES
(Color, unless specified)

7103 Adventure in Rhythm

(9) Apr 61

7104 Assignment Egypt (9) May 61

7106 Assignment Singapore

& Malaya (10) Jun 61

7107 Hills of Assisi (10) . . . Jul 61

7108 Assignment Pakistan (9) Aug 61

7109 Ski New Horizons (10) Sep 61

7110 Assignment India (9) Oct 61

7111 Assignment South

Africa (10) Nov 61

7112 Sound of Arizona (10) Dec 61
7201 Sport Fishing Family

Style (8) Jan 62

TERRYTOON 2-D's
All Ratios — Color

5122 Cat Alarm (6) Feb 61

5123 Drum Roll (7) Mar 61

5124 Railroaded to Fame

(7) May 61

5125 The First Fast Mail

(6) May 61

5126 Sappy New Year (7) Dec 61

5221 Klondike Strike

Out (7) Jan 62

TERRYTOON CINEMASCOPES

5107 Unsung Hero (6) Jul 61

5108 Banana Binge (6) ..Jul 61

5109 Meat, Drink and Be

Merry (6) Aug 61

5110 Really Big Act (6) ...Sep 61

5111 Clown Jewels (6) ..Oct 61

5112 Tree Spree (6) . . Nov 61

5201 Honorable House

Cat (6) Jan 62

TERRYTOONS

(Color-CinemaScope)

5101 Night Life in Tokyo

(6) Feb 61

5102 So-Sorry, Pussycat (6) Mar 61

5103 Son of Hashimoto (7) Apr 61

5104 Strange Companion (6) Apr 61

5105 Honorable Cat Story (6) Jun 61

5106 Crossing the Delaware

(6) Jun 61

UNIVERSAL-INT'L
COLOR PARADE

4171 Valley of the Mekong

(9) Nov 60

4172 The Lion City (9) . . Dec 60

4173 Treasure of Istanbul (9) Jan 61

4174 Down Jamaica Way (9) Feb 61
5175 Sidetracked (9) © ..Mar 61
4176 Puerto Rican Playland

(8) Apr 61

WALTER LANTZ CARTUNES
(Technicolor. . Can be projected In
the Aanmorphic process, 2.35-1)
(All run between 6 and 7 miln.)

4111 Southern Fried Hospitality
(Woody Woodpecker) .... Nov 60

4112 Fowled Up Falcon

(Woody Woodpecker) .... Dec 60

4113 Poop Deck Pirate

(Woody Woodpecker) ... Jan 61

4114 Rough and Tumble-Weed Jan 61

4115 Eggnapper Feb 61

4116 The Bird Who Came to
Dinner (W. Woodpecker) Mar 61

4117 Gabby’s Diner (Woody

Woodpecker) Mar 61

4118 Papoose on the Loose . Apr 61

4119 Clash and Carry . . . Apr 61
WALTER LANTZ REISSUES

(Color Cartunes. Can be projected
in the Anamorphic process, 2.35-1)

4131 Helter Shelter (6) Nov 60

4132 Witch Crafty (6) Dec 60

4133 Private Eye Pooch (6) Jan 61

4134 Bedtime Bedlam (6) . . Feb 61

4135 Squareshootin’ Square

(6) Mar 61

4136 Bronco Busters (6).... Apr 61

SPECIAL

4104 Foothall Highlights of

1960 (10) Dec 60

2-REEL COLOR SPECIALS
4101 Pacific Paradise (14) Nov 60

WARNER BROS.

BLUE RIBBON HIT PARADE
(Technicolor Reissues — 7 min.)

8305 Little Beau Pepe .... Dec 60

8306 Tweet Tweet Tweety. . Dec 60

8307 Bunny Hugged Jan 61

8308 Wearing of the Grin.. Feb 61

8309 Beep Deep Mar 61

8310 Rabbit Fire Apr 61

8311 Feed the Kitty Apr 61

8312 The Lion’s Busy May 61

8313 Thumb Fun Jun 61

8314 Com Plastered Jul 61

8315 Kiddin’ the Kitty. . . .Aug 61

8316 Ballot Bex Bunny ...Apg61

9301 A Hound for Trouble Sep 61

9302 Strife With Father .... Sep 61

9303 The Grey Hounded Hare Oct 61

9304 Leohorn Swaggled . .. Nov 61
BUGS BUNNY SPECIALS

(Technicolor — 7 min.)

8722 Lighter Than Hare. . . . Dec 60

8723 The Abominable Snow

Rabbit May 61

8724 Compressed Hare Jul 61

9721 Prince Violent Sep 61

MERRIE MELODIES
LOONEY TOONS
(Technicolor — 7 min.)

8704 Doggone People Nov 60

8705 High Note Dec 60

8706 Cannery Woe Jan 61

8707 Zip 'n Snort Jan 61

8708 Hoppy Daze Feb 61

8709 Mouse on 57th St Feb 61

8710 Strangled Eggs Mar 61

8711 Birds of a Father ...Apr 61

8712 D’Fightin’ Ones Apr 61

8713 Lickety-Splat Jun 61

8714 A Scent of the

Matterhorn Jun 61

8715 Rebel Without Caws . Jul 61

8716 The Pied Piper of

Guadalupe Aug 61

9701 Daffy’s Inn Trouble. .. .$ep 61

9702 What’s My Lion? Oct 61

9703 Beep Prepared Nov 61

WORLD-WIDE ADVENTURE

SPECIALS
(Color Reissues)

(Two-Reel)

8002 The Man From New

Orleans (20) Mar 61

8003 Winter Wonders (18) . Jul 61
9001 Where the Trade Winds

Play (17) Oct 61

(One Reel)

8502 Alpine Champions (10) Feb 61

8403 Kings of the Rockies

(10) Apr 61

8404 Grandad of Races (10) May 61

8505 Snow Frolics (9) lun 61

8506 Hawaiian Sports (9) . Aug 61
9501 TNs Sporting World

(10) NovSl

FOREIGN LANGUAGE

FRANCE

Breathless (891 3- 6-61

Jean-Paul Belmondo, Jean Seberg
Beau Serge (87) 9-25-61

(UMPO) .. Gerard Blain
Crime of M. Lange,

The (78) 11-13-61

(Brandon) . . (Jean Renoir classic)

Frantic (90) 8-28-61

(Times) . .Jeanne Moreau, M. Ronet

Joker, The (86) 10- 2-61

(Lopert) . .J-P Cassel, A. Aimee

©Leda (101) 11- 6-61

(Times) . .Madeleine Robinson,
Jean-Paul Belmondo

Love Game, The (85) 2-13-61

(F-A-W) . .Jean Pierre Cassel
Modigliani of Montparnasse

(110) 3- 6-61

(Cont’l) . .Gerard Phillipe
Rules of the Game (104) 4-17-61

(Janus) . .Jean Renoir
GERMANY

Roses for the Prosecutor

(91) 11-13-61

(American-Metropolitan) . .

W. Giller, Ingrid Von Bergen
The Girl of the Moors (87) 9- 4-61
(Casino) . .Claus Holm, Maria En»o

GREECE

Antigone (93) 9-25-61

(Nonna) .. Irene Papas

Moussitsa (75) 6- 5-61

(Greek Pictures) .. A. Vouyouklaki

ITALY

From a Roman Balcony

(84) 11-27-61

(Cont’l) . .Jean Sorel, Lea Massari
Girl With a Suitcase (108) 10-16-61
(Ellis) . .Claudia Cardinale

La Dolce Vita (175) 4-24-61

(Astor) . .Marce.lo Mastroianni,
Anita Ekberg, Anouk Aimee

L'Avventura (145) 6- 5-61

(Janus) . .Monica Vitti, Gabriele
Ferzetti, Lea Massari

Man Who Wagged His Tail, The

(91) 10- 9-61

(Cont’l) . .Peter Ustinov, Pablito
Calvo (Span-lang; Eng. titles)
Rocco and His Brothers

(175) 7-17-61

(Astor).. A. Delon, A. Girardot
Two Women (105) .... 6-19-61

(Embassy) . .Sophia Loren,

Jean-Paul Belmondo

Wild Love (86) 5- 1-61

(Ellis) . .Franko Interlenghi

JAPAN

©Rikisha Man, The (105) 5- 8-61
(Cory) Toshiro Mifune

Rice (118) 9-18-61

(SR) . .Yuko Moshizuki
Road to Eternity (181) . . 2-27-61
(Beverly) . .Tatsuya Nakadai

POLAND

Ashes and Diamonds (105) 9- 4-61

(Janus).. Z. Cybulski
Eve Wants to Sleep (93) 10- 9-61
(Harrison) . .Barbara Lass

Kanal (96) 11- 6-61

(Kingsley) . .T. Izewska, T. Janczar
SWEDEN

Devil’s Eye, The (90) 12-18-61

(Janus) . .Jarl Kulle, Bibi
Andersson

Secrets of Women (114) . . 9-18-61
(Janus) . .Eva Dahlbeck, Gunnar
Bjornstrand, Maj-Britt Nilsson
Unmarried Mothers (79) . . 3-13-61
(President) . .E. Etiberg, B. Logart
U.S.S.R.

Ballad of a Soldier (89) .. 1-3161
(Kingsley) . .Vladimir Ivashov,
Shanna Prokhorenko (also Eng-
dubbed)

Fate of a Man (100) . . 8-28-61

(UA) . . Sergei Bondarchuk
Summer to Remember, A

(80) 12-18-61

(Kingsley) . ,B. Barkjatov, S.
Bondarchuk

BOXOFFICE BookinGuide :: Jan. 8, 1962

XHIBITOR HAS HIS SAY

m—mmm—mm ABOUT PICTUREShmh

ALLIED ARTISTS

Al Copane (AA) — Rod Steiger, Fay Spain, James
Gregory. One of the best stories ever written about
the Cr me Era in Chicago. This story is based on
fact and is really exciting. Played this old, as we do
most pictures, and had very few children and stu-
dents for fhis (which was just as well), but the adults
enjoyed it very much and gave it a better-than-
average gross. Played Fr i . , Sat. Weather: Good.—
F. L. Murray, Strand Theatre, Spiritwood, Sask. Pop.
500.

Friendly Persuasion (AA, reissue, in cooperation
with Motion Picture Investors)— Gary Cooper, Dor-
othy McGuire, Anthony Perkins. This one's a real
sweetie. My customers didn't respond to the ads;

I guess they think Quakers have something to do
with breakfast cereal. — Don Stott, Southwind The-
atre, Solomons, Md. Pop. 950.

BUENA VISTA

Absent-Minded Professor, The (BV) — Fred Mac-
/,‘urray, Nancy Olson, Keenan Wynn. Very good. Did
big business, but 60 per cent is mighty rough. Still
I had some money left! Played Sun. through Wed. —
S. T. Jackson, Jackson Theatre, Flomaton, Ala. Pop
1,480.

COLUMBIA

Cry for Happy (Col) — Glenn Ford, Miiko Taka,
Donald O'Connor. The "B" rating on this hurt us.
Instead of excellent, it was just average. Glenn Ford
is tops. Excellent for non-Catholic small town. — Don
Stott, Southwind Theatre, Solomons, Md. Pop. 950.

Pepe (Col) — Cantinflas, Shirley Jones, Dan Dailey.
Certainly an excellent production, with color ana
beautiful photography. Business was satisfactory
Running time could have been cut 45 minutes. Peo-
ple began to get restless after the first two hours
Played Sun., Mon., Tues. Weather: Good. — Mel

Danner, Circle Theatre, Waynoka, Okla. Pop. 2,018.

Picnic (Col, reissue) — William Holden, Kim Novak,
Rosalind Russell. An excellent reissue! Played Sun.,
Mon. — S. T. Jackson, Jackson Theatre, Flomaton,
Ala. Pop. 1,480.

Wackiest Ship in the Army, The (Col) — Jack Lem-
mon, Ricky Nelson, Chips Rafferty. Not bad. Average
business for a Fri.-Sat. Hod to give everybody a
refund on Friday because of a bad amplifier, but
that wasn't the picture's fault. — Don Stott, Southwind
Theatre, Solomons, Md. Pop. 950.

METRO-GOLDWYN-MAYER

Cimcrron MGM) — Glenn Ford, Maria Schell, Anne
Baxter. Excellent, as was Edna Ferber's “Ice Palace,"
which we ran just a year before, also early in De-
cember. Perhaps it's just the December slump, but
neither did the business it deserved. Played Sun.,
Mon. Tues. Weather: Cold. — 'Rod B. Hartman, Roose-
velt Theatre, Grand Coulee, Wash. Pop. 1,100.

Gone With the Wind (MGM, reissue) — Clark Gable,
Vivien Leigh, Leslie Howard. This is still a wonderful
picture and will do business every time it comes
around. Much better than most current product.
Played Sun., Mon., Tues. Weather: Good. — Mel Dan-
ner, Circle Theatre, Waynoka, Okla. Pop. 2,018.

Home From the Hill (MGM)- — Robert Mitchum,
Eleanor Parker, George Peppard, George Hamilton.
Played this late to only fair results, but personally
thought the film very good and with excellent color.
Can't understand why the film did no better for any-
one. Because of the nature of the film, we should
hove gotten more adults. Yet our ratio was only
one adult to five small fry, and it certainly should
have been the other way around. Still a good film
that pooped. — Al Zarz ana, Ray Boriski; Galena
Theatre, Galena Park, Tex. Pop. 10,000.

'Loniqan Will Appeal
To 19-25 Age Group

As a book "Studs Lonigan" was extremely
controversial, but very well written. This film-
ing (UA) is disappointing up to a point (mainly
due to a low budget), but it still is well acted
and directed. This has a special appeal to young
people (19-25). Cash in on that and you'll do
all right, but advise that kiddies stay home.
Business was average here.

PAUL FOURNIER

Acadia Theotre,

St. Leonard, N. B.

Where the Boys Are (MGM) — Dolores Hart, George
Hamilton, Jim Hutton, Poulo Prentiss. Here is a
hoppy-go-lucky picture which did above average. Has
fine color and CinemoScope — almost necessary to put
any movie in the top bracket. Played Sun., Mon.,
Tues. Weather: Good. — B. Berglund, Trail Theatre,
New Town, N. D. Pop. 1,200.

PARAMOUNT

Conspiracy of Hearts (Para) — Yvonne Mitchell,
Lilli Palmer, Sylvia Syms. I went to the local priest
and explained that this was the one for his flock,

and invited him and the nuns to come as our guests.
Still nothing. Absolutely nothing! They didn't even
come. Who says this one does business when you
tell them about it? — Don Stott, Southwind Theatre,
Solomons, Md. Pop. 950.

Love in a Goldfish Bowl (Para) — Tommy Sands,
Fabian, Toby Michaels. Nothing extra about this. Not
strong enough for a weekend playdate. Advise play-
ing it midweek. Lowest Sunday I've had in a long
time. Played Sun., Mon. Weather: Warm and rainy. —
James Hardy, Shoals Theatre, Shoals, Ind. Pop. 1,555.

Pleasure of His Company, The (Para) — Fred Astaire,
Debbie Reynolds, Tab Hunter. Good picture, but where
are the people? Played Sun., Mon., Tues. Weather:
Cool — P. B. Friedman, Grand Theatre, Lancaster,
Ky. Pop. 3,000.

20TH CENTURY-FOX

Desert Attack (20th-Fox) — John Mills, Sylvia
Syms, Anthony Quayle. Bad print and in black-and-
white, but the kids loved it. Played Sat. Weather:
Warm. — P. B. Friedman, Grand Theatre, Lancaster,
Ky. Pop. 3,000.

Flaming Star (20th-Fox) — Elvis Presley, Barbara
Eden, Dolores Del Rio. If you have a "star," westerns

Loves ' Wistful Widow'

U-I's "Wistful Widow of Wagon Gap" is a
wonderful oldie with Bud Abbott, Lou Costello
and Marjorie Main. Played it with MGM's "Thief
of Baghdad" to a big Saturday and Sunday. The
public loves to laugh and this one did it. This
paid the bills on "Ada" which is not for the
small towns.

RICHARD HENDRICK

Cass Theatre,

Cass City, Mich.

will pay. Teens love Presley. Even Grandma comes
to see him. You've got to give Presley credit. Fie
will draw them in. Not up to "G.l. Blues" but still
a winner. Let him sing! Played Sun., Mon. Weather:
Fair. — Ken Christianson, Roxy Theatre, Washburn,
N.D. Pop. 913.

Return to Peyton Place (20th-Fox) — Carol Lynley,
Jeff Chandler, Eleanor Parker. This, to me, was not
as good as the original; neither did it do anything
like the business the first one did. Played Tues.
through Fri. — S. T. Jackson, Jackson Theatre, Flo-
maton, Ala. Pop. 1,480.

Snow White and the Three Stooges (20th-Fox)- —
Carol Heiss, Stooges, Edson Stroll. Here is a nice pic-
ture in color and CinemoScope. It did above aver-
age, although I believe the Stooge comedies being
on television hurt it some. Not too much slapstick
in this, though. Played Sun., Mon.. Tues. Weather:
Good. — B. Berglund, Trail Theatre, New Town, N. D.
Pop. 1,200.

UNITED ARTISTS

Facts of Life, The (UA) — Bob Hope, Lucille Ball,
Ruth Hussey. Played late — satisfactory grosses, fair
terms. Too bad it is in black and white. — Don Stott,
Southwind Theatre, Solomons, Md. Pop. 950.

Unforgiven, The (UA) — Burt Lancaster, Audrey
Hepburn, Audie Murphy. As good a super-western
as they come. Top cast do a bang-up job and there's
enough action, drama and good acting to satisfy
everyone. A must in any situation. Played Wed.
through Sat. Weather: Cool. — Dave S. Klein, Astra
Theatre, Kitwe/Nkana, N. Rhodesia, Africa. Pop.
13,000.

UNIVERSAL-INTERNATIONAL

Dinasaurus (U-l) — Ward Ramsey, Kristina Hanson.
Here is a picture in beautiful color and Cinema-
Scope which is very good. The actors do a good job
and it is directed by someone with a lot of imagina-
tion. The story is good, with some comedy at inter-
vals. Played Wed., Thurs. Weather: Cold. — B. Berg-
lund, Trail Theatre, New Town, N. D. Pop. 1,200.

Posse From Hell (U-l) — Audie Murphy, John Saxon,
Zohra Lamport. Audie does not appeal here. This
was a sorry boxoffice attraction. Played Fri., Sat.
Weather: Good. — Leonard J. Leise, Roxy Theatre,

Randolph, Neb. Pop. 1,029.

Secret Ways, The (U-l) — Richard Widmark, Sonja
Ziemann. Oh, really now! Who wants to see R.
Widmark in black and white? None here. Total
gross for two days — $9.00. Film cost — $15.00. This
one's available in 16mm already. Let 'em have it,
say I. — Don Stott, Southwind Theatre, Solomons,
Md. Pop. 950.

Tammy Tell Me True (U-l) — Sandra Dee, John
Gavin, Charles Drake. Excellent, but it cost me 50
per cent. Played Sun., Mon., Tues. — S. T. Jackson,
Jackson Theatre, Flomaton, Ala. Pop. 1,480.

WARNER BROS.

Fanny (WB) — 'Leslie Caron, Horst Buchholz, Maurice
Chevalier, Charles Boyer. They either liked it very
much or disliked it equally as much. By my standards,
this gal who played Fanny did some superb acting.
Color is good. — I. Roche, Storlite Drive-in, Chipley,
Flp. Pop. 3,000.

FOREIGN LANGUAGE
FEATURE REVIEWS

Les Liaisons Ratio: Drama

Dangereuses A 185 1

Astor Pictures 106 Minutes Rel.

The long-continuing publicity about the re-
fusal of the French government to permit the
export of this controversial and daring film
until recently (it is still banned in many
smaller French cities), has created a “want-
to-see" potential among class patrons in the
U.S. Those who attend expecting to be
shocked or startled by the picture's theme of
a married couple who discuss and condone
their extra-marital affairs will find it a fasci-
nating experience, just as most pure-minded
moviegoers will be offended or repelled by
the extremely frank, even sordid, treatment,
the racy English titles and, above all, by two
revealing bedroom scenes which have rarely
been exceeded as regards nudity and bad
taste. Although strictly adult fare, the picture
cannot fail to be a smash success in key city
first runs and the art spots. It's not for regular
patrons in small towns and neighborhoods.
Skilfully directed by Roger Vadim (noted for
his Bardot films) who updated his screenplay
from the 18th Century novel by Choderlos De
Laclos, the picture also has the strong mar-
quee draw of the late Gerard Philipe and
Jeanne Moreau who starred in "The Lovers"
and "Frantic” in 1960-61, for devotees of
foreign-language imports. Both are excellent,
Philipe handling the sexy moments with
great charm and delicacy while Miss Moreau,
as the cold, vindictive and unfeeling wife, is
reminiscent of Bette Davis, especially in her
mannerisms. Annette Vadim (who followed
Bardot as the director's wife) and Jeanne
Valerie, add pulchritude as the husband's
two bedroom conquests and Simone Renant
also contributes a fine acting job. In the story,
which is slow in developing, Philipe and Miss
Moreau play a married couple who have a
mutual pact of sexual freedom and frankness
in discussing these affairs. Philipe agrees to
seduce Jeanne Valerie to leave the latter's
fiance free for his wife's amusement. But,
instead, he falls sincerely in love with Annette
Vadim, a happily married girl. For the first
time, Miss Moreau objects and, to spite her
husband, she seduces Miss Valerie's student-
lover. This results in a tragic end for Philipe
and disfigurement by fire for his wife in a
startling finale which makes both pay for
their sins. There is a disconcertingly modern
jazz score by Thelonius Monk and Jack
Murray.

Gerard Philipe, Jeanne Moreau, Annette Vad-
im, Jean-Louis Trintignant, Jeanne Valerie.

'Day the Earth Caught Fire'
Acquired by Universal

NEW YORK — Western Hemisphere dis-
tribution rights to ‘‘The Day the Earth
Caught Fire” have been acquired by Uni-
versal Pictures. The theme deals with the
effects of a massive thermonuclear ex-
plosion which dislodges the earth from its
axis and sends it spinning toward the sun.

Universal is planning a major release in
the late spring with an extensive promotion
campaign.

Parents Honors 'Flower'

NEW YORK — ‘‘Flower Drum Song,” pro-
duced by Ross Hunter for Universal-Inter-
national, has been awarded the Family
Medal for January by Parents Magazine.

BOXOFFICE BookinGuide :: Jan, 8, 1962

Opinions on Current Productions

' Ieature reviews

Symbol © denotes color; © CinemoScope; ® VistaVision; (§) Superscope; ® Ponovision; ® Regolscope; (T, Technirama. For story synopsis on each picture, see reverse side.

The Singer Not the Song F e Drama e

Warner Bros. (152) 129 Minutes Rel. Jan. '62

A powerful drama of the conflict between a bandit leader
W and a Catholic priest in a remole village in Mexico, mag- 1“ 1 <

nificently filmed in CinemaScope and Technicolor, this Rank gg. S
film is better suited to art houses and class spots although
Dirk Bogarde and John Mills, two of Britain's top male stars,
have good marquee draw generally. Despite excessive (over
two hours) length, the screenplay by Nigel Balchin, based on
the novel by Audrey Erskine Lindop, is a fascinating study
of a guilt-ridden relationship between the two men with the
role of the girl who becomes involved with both men less
interesting and distinctly secondary. Roy Baker, who pro-
duced as well as directed, gets superb performances from
Bcgarde, as the handsome, atheistic bandit, and Mills, as the
valiant priest who tries to convert the bandit. Baker is less
successful in making the character of the girl, played by the
lovely French actress Mylene Demongeot, believable, espe
cially as regards her unrequited passion for the priest.

There is nothing offensive to religious-minded patrons in the
film. Laurence Naismith and John Bentley contribute strong
portrayals, both in Mexican roles. Filmed in Spain, the
photography of Otto Heller, with its sun-baked streets and
churches and colorful costumes, is among the year's finest.

Dirk Bcgr:rde, John Mills, Mylene Demongeot, Laurence
Naismith, Leslie French, John Bentley, Eric Pohlmann.

The Long and the Short and the Tall A ^ War D ama

Continental 102 Minutes Rel. Dec. '61

Some of the best-functioning talent in the international
.eet, screen community — most notably producer Michael Balcon,
, r scripter Wolf Mankowitz and principal players Laurence Har-
vey, Richard Todd and newcomer Richard Harris (soon to
be seen in MGM's “Mutiny on the Bounty") — have combined
to serve up some dramatic and compelling entertainment,
focu ed poignantly on a remote segment of World War II's
bitterly fought Far Eastern ground campaign. It's an adult
story, primarily, and conveys the essentials of men cut off
f-om normal civilian pursuits. While the ending is inevitably
sad, the overall effect is one of dramatic urgency as a British
patrol comes upon a lone Japanese, takes him prisoner,
eventually meets its doom in the aftermath of a quarrel
amongst its own members. Harvey is in his element here, his
truculence clashing forcefully with military discipline stickler
Richard Todd. Leslie Norman's direction is firm, gratifyingly
free of irrelevant frills that can too often mar even the best-
intentioned war melodrama. The all-male cast will probably
lure the distaff side and the action, fans should be more than
satisfied with what these Britons have put on film. The pro-
duction is from the studios of Associated British Picture Cor-
poration Ltd.

Laurence Harvey, Richard Todd, Richard Harris, David
McCallum, Ronald Fraser, John Meillon.

Desert Patrol F War Drama

Univ.-Int'l ( ) 78 Minutes Rel. March '62

The British filmmakers have long excelled in the produc-
tion of intensely realistic dramas dealing with various
phases of World War II and this Robert S. Baker-Monty Ber-
man picture for the Rank Organization is another good one
— although of the programmer variety. Originally released in
Britain in 1958 as "Sea of Sand, 1 ' this now can boast three
players who are becoming increasingly familiar to U.S.
patrons — John Gregson, best remembered from "Genevieve/'
Richard Attenborough, whose latest were "The Angry
-**- Silence" and league of Gentlemen," and Michael Craig,

ois/^) vvho scored in "Sapphire" and "Upstairs and Downstairs" in ^ \
1959-60. Although somewhat grim, it will make a strong sup- ma ' |
porting dualer, especially where action fare is favored. As
directed by Guy Green, the film takes a while to establish
the various characters in the all-male cast (it was cut from
the original 97 minutes running time in England) but interest
builds steadily right up to the harrowing climax as seven
men trek across the North African desert pursued by enemy
planes and a German scout car. Gregson and Craig are
particularly fine, but it is Percy Herbert, as a valiant
wounded trooper, who makes a memorable impression. There
are few lighter moments to relieve the tension.

Richard Attenborough, John Gregson, Michael Craig, Vin-
cent Ball, Dermot Walsh, Percy Herbert, Andrew Faulds.

Lost Battalion F Si "* 0, '"•

American Int'l (611) 83 Minutes Rel. Dec. '61

A grim semidocumentary feature dealing with guerilla
fighters in the Philippines during World War II, this will
satisfy action-minded male patrons and serve as a support-
ing dualer even if it is a bit long for that purpose. Produced
and directed by Eddie Romero, who also wrote the screenplay
with Cesar Amigo, this was entirely filmed in Philippine
location with several native actors in the leads. Leopold
Salcedo, who plays the guerilla leader, is convincing in a
semi-romantic role, far more so than Diane Jergens, a doll-
J ' faced Hollywood actress who speaks in babyish tones and

1 is unable to make her American refugee part at all believ-

able. As neither name has any marquee value, the title is
the sole selling angle. The other Filipino players and two
other Americans, Joe Dennis and Bruce Baxter are adequate.
Many actual newsreel shots of World War II action in this
territory are neatly integrated into the filmed black-and-white
footage. A. B. Tecson was the production coordinator and
Felpe Sacdalian, P.S.C., was the cameraman. American
International is teaming this with the foreign-made Cinema-
Scope-color picture, "Guns of the Black Witch."

Leopold Salcedo, Diane Jergens, Johnny Monteiro, Joe

Dennis, Jennings Sturgeon, Renato Robles, Bruce Baxter.

A Midsummer Night’s Dream F

<§> ©

Showcorporation 74 Minutes Rel. Dec. '61

Shakespeare's dream fantasy has been a play, a ballet and
a film, last made by Max Reinhardt for Warner Bros, with
James Cagney, Olivia de Havilland and Mickey Rooney (a
prestige film but not a boxoffice success). Now it has been
enchantingly filmed by Jri Trnka, the Polish creator who also
used animated puppets for "The Emperor's Nightingale" in
1951. An ideal attraction for special matinees, the Cinema-
Scope-Eastman Color film will delight the youngsters Who
will watch the fairies, sprites and forest animals without pay-
ing much attention to Shakespeare's poetry, beautifully
spoken by Richard Burton, as the story-teller, and Barbara
Jefford, Alec McCowen and other members of London's Old
Vic company. Burton, star of Broadway's "Camelot" and the
forthcoming "Cleopatra" film, will be a draw for students
and Shakespeare devotees, who may be somewhat annoyed
by the immobility of the puppets' faces, even though the
figures move their fingers, feet and bodies in remarkably
life-like fashion. Generally conceded to be one of the Bard's
, lesser and more confusing tales, the picture must be followed

J attentively to keep track of the various characters, which in- \

elude ordinary humans, play-actors and members of the )

fairy kingdom. —

Jra Trnka's animated puppets with the voices of Richard Bur-
ton, Barbara Jefford and members of the Old Vic Company.

Guns ol the Black WitchF ££!; 4, |”

American Int'l (610) 81 Minutes Rel. Dec. '61

The term "swashbuckling" has become a cliche in de-
scribing pirate films, but hardly any other word would fit
this English-dubbed Italian import. Here are sea battles,
sword play, raids and all the ingredients that go into the
tales of buccaneers. The building of replicas of 17th Century
ships must have been a costly part ol the budget, but it was
rewarded by the realistic clashes. The cameras have caught
some beautiful color photography and the scenic back-
grounds are impressive. The story, however, does not quite
measure up to the high production values, although it is cer-
tain that younger audiences, and action-minded adults, will
not be disappointed. Don Megowan, the male star, is the only
American. He has been surrounded with two Italian
beauties, Silvana Pampanini and Emma Danieli, who supply
the love interests. The story deals with a Caribbean island
group which refuses to pay homage to Spain and, as buc-
caneers, continually attack the Spanish ships. A romance
M develops between the pirate leader and the daughter of the

W Spanish governor which leads to a number of exciting events.

Don Megowan, Silvana Pampanini, Emma Danieli, Livio

Lorenson, Germano Longo, Loris Gizzi, Phillippe Hersent.

The reviews on these pages may be filed for future reference in any of the fof lowing ways: (1) in any standard three-ring
loose-leaf binder; (2) individually, by company, in any stan dard 3x5 card index file; or (3) in the BOXOFFICE PICTURE
GUIDE three-ring, pocket-size binder. The latter, including a year's supply of booking and daily business record sheets,
may be obtained from Associated Publications, 825 Van Brunt Blvd., Kansas City 24, Mo., for $1.00, postage paid.

2594 BOXOFFICE BookinGuide :: Jan. 8, 1962 2593

FEATURE REVIEWS Story Synopsis; Exploits; Adlines for Newspapers and Programs

THE STORY: "The Long and the Short and the Tall" (Cont'l)

A seven-man British patrol consisting of three noncommis-
sioned officers and four privates is nosing deep into Japanese
territory to test a new form of warfare involving use of sound
decoys to mislead the enemy in their search for Allied posi- • 950
lions Sgt Richard Todd, stickler for military lore, newly *ish
demoted for losing a patrol, heads the group; second-in-
command is Cpl Richard Harris, openly scornful of Todd. A
Japanese scout stumbles on their hideout and is captured.

Todd decides to take the scout, Kenji Takaki, back to base
for questioning and reluctantly agrees that the prisoner must
be killed. Harvey attempts to prevent the killing, struggles
bodily with his two superiors. The noise of the shots seals
the patrol's late; all except Harris are killed and Pvt. David
McCallum is captured. Now the positions are reversed. The
Japanese find Takaki's water bottle on Harris, and threaten
him. Another vicious circle of misunderstanding begins.

EXPLOrTIPS:

Get out your file stills of Laurence Harvey for lobby blow-
ups, stressing his "Expresso Bongo," "Room at the Top" and
Butterfield 8" delineations in newspaper publicity. Invite
veterans of ground fighting in China-Burma-India to a special
screening.

CATCHLINES:

Hollywood's Hottest New Star in a Totally Different Role!

. . . Raw Emotions Bared!

THE STORY: "Lost Battalion" (AIP)

When the Philippines were over-ruin by the Japanese dur-
ing World War II, Leopold Salcedo, Filipino guerilla leader,
forms a unit with an American major, Joe Dennis, to round
up a group of American refugees stranded there and convoy
them to the coast where a submarine is to pick them up.

During the trip through the jungle, Diane Jergens, an Ameri-
can girl, falls in love with Salcedo as he displays great
bravery when the group encounters the enemy. Later, Diane
is kidnapped by a Filipino bandit group led by Johnny
Monteiro. Salcedo manages to rescue her although he is
seriously wounded during the break. They are saved from
death by a friendly tribe of pygmies. Monteiro reappears and
a showdown fight ensues with Salcedo. The bandit leader is j ac
killed and Salcedo is fatally bitten by a cobra. He is left 480 .
behind to die when Diane and the others are rescued by the
American submarine.

EXPLOITIPS:

The title, which suggests battle action, is the main selling
angle, especially as the Filipino actors and the American
Diane Jergens lack marquee value. However, use photos of
the blond Miss Jergens to play up the slight romantic angle
for women patrons.

CATCHLINES:

200 Men and One Girl Trapped in a Ring of Steel ... A
Jungle War Adventure Film Actually Made on Philippine
Islands Locations.

THE STORY: "The Singer Not the Song" (WB)

John Mills, a Catholic priest, arrives in a small Mexican
town to take over for a predecessor who has bowed to the will
of Dirk Bogarde, a bandit who has the townsfolk intimidated.
Bogarde, an atheist, makes two attempts to kill Mills but,
-ira)- when an old henchman tries to take the priest's life, it is
Bogarde who saves him. As the townspeople start to rally
around Mills against Bogarde, the latter asks him for shelter.
He wants to know if it is the song — the religion — or the
singer — the priest — that is gradually reforming him. Mylene
Demongeot, a girl who his been helping Mills in his dis-
pensary, confesses to Bogarde that she is in love with the
priest. Mills, of course, tells Mylene he can never return her
love and he plots with Bogarde to rescue her from a loveless
marriage arranged by her family. Bogarde tricks the priest
and the latter is forced to denounce him to the townspeople.
As Bogarde is being led to prison, he escapes, is shot and
Mills, in running to his side, is also shot. The two died side
by side.

EXPLOITIPS:

To remove all doubt from patrons that this is a musical,
play up Bogarde in his leather bandit outfit and Mills in his
priest's cassock but use stills or blowups of lovely Mylene
Demongeot.

CATCHLINES:

The Drama of the Conflict Between Two Strong Men — One
a Bandit, the Other a Man of God.

THE STORY: "Desert Patrol" (U-I)

Just before Alamein in World War II, John Gregson, an ex-
pert on mines, is sent to a desert group, where he is dis-
turbed by the casual conduct of Michael Craig, the captain.
With 15 men in five trucks, a patrol is sent out on a 400-mile
journey to raid Amara, one of Rommel's petrol dumps. En
route, the patrol encounters German military traffic but Greg-
son bluffs the enemy by speaking German and he and Craig
develop more camaraderie. They lose one man and Percy
Herbert, a trooper, is seriously wounded. After another en-
counter with the enemy, only two trucks and seven men are
left. Then, only 40 miles from base, they find their petrol and
water reserve have drained away. The dying Herbert is left
ncksor behind with a machine to gun down approaching Germans.
When they spot a German scout car, Gregson, single-handed,
attacks and is killed, leaving Craig and five others to be
picked up by a British patrol before the battle of Alamein
starts.

EXPLOITIPS:

Remind patrons of the past British successes of John Greg-
son, Richard Attenborough and Michael Craig.

CATCHLINES:

Seven Men Forced to Trek Across the Enemy-Ridden Desert
to Amara . . . Three of Britain's Finest Actors, John

"Genevieve" Gregson, Richard "Angry Silence" Atten-
borough, and Michael "Sapphire" Craig in Another Stirring
British Film.

(

THE STORY: "Guns of the Black Witch" (AIP)

When an island settlement is massacred by the Spanish,
only Don Megowan and his friend Germano Longo escape in
a small boat and are picked up by a pirate ship and ac-
cepted by the crew. Twelve years later, Megowan has be-
come second in command. He is determined to get venge-
ance on the governor who, he thinks, was responsible for
the murder of his parents. On a two-man secret "casing" of
the Spanish bases, Megowan is wounded and hides in a
cave where he is discovered by Emma Danieli, the governor's
daughter. She helps him return to his ship. Meanwhile, his
pal, Germano Longo, is captured by the Spaniards and turns
traitor. Megowan attacks a ship carrying Miss Danieli and
her father. There is a terrific battle. Megowan learns that
it was Livio Lorenson, the governor's aide, who had ordered
the massacre, and in a duel the latter is killed. Megowan
and the governor's daughter are reunited.

EXPLOITIPS:

Arrange for a pirate treasure hunt in a tieup with a news-
paper which could plant clues around the town. Promote a
contest among the kids for the best pirate costume.

CATCHLINES:

Naked Terror on the High Seas . . . What Was the Secret
of the Black Witch? . . A Pirate's Romance With the Daugh-
ter of His Mortal Enemy . . . See the Unconquerable Bar-
barians of the Sea . . . Rebels Sail a Course of Terrible
Vengeance.

THE STORY: "A Midsummer Night's Dream" (Showcorp)

In Athens, Hermia loves the poet Lysander, but has been
promised by her father to the hot-headed Demetrius. Hermia
and Lysander flee to the nearby wood but Helena, who
really loves Demetrius, reports this. Also in the woods are a
group of actors rehearsing a play and the fairy monarchs, the
jealous Oberon who is courting the disdainful Titania.
Oberon, with the assistance of the bungling Puck, bewitches
Titania and some of the humans and turns Bottom, the
weaver, into an ass. Titania, awakening, becomes enamored
of Bottom, and Puck tries to right some of his mistakes.
Eventually, all of the lovers, both human and fairy, are
happily paired.

EXPLOITIPS:

For the special matinees, as given in several neighborhood
art houses during the Christmas period, stress the life-like
puppets to attract the youngsters. For regular engagements,
play up Shakespeare, Richard Burton and the members of
the Old Vic Company, to interest students and lovers of
classic fare.

CATCHLINES:

:e. E. but Shakespeare's Classic Tale of Star-Crossed Lovers, of Elves,

jn., t ijes. — Fairy Kings and Queens — Now on the Screen . . . Richard

nr "' Burton and Members of London's Old Vic Speak Shakes-
peare's Immortal Lines . . . Winner of the Cannes Festival
Grand Prix.

BOXOFFICE BookinGuide :: Jan. 8, 1962

RATES: 20(2 per word, minimum $2.00, cash with copy. Four consecutive insertions for price
of three. CLOSING DATE: Monday noon preceding publication date. Send copy and
* answers to Box Numbers to BOXOFFICE, 825 Van Brunt Blvd., Kansas City 24, Mo. •

CLfflRIDG HOUSE

HELP WANTED

REPRESENTATIVE WANTED. If you can

sell advertising, we have the deal. Out-
door advertising in conjunction with The-
atre Frame Service. Protected territory.
An opportunity to build for the future. For
details contact: Romar-Vide Co., Chetek,
Wisconsin.

Continued expansion has created open-
ings for experienced indoor and drive-in
managers. Top salaries and libera! bene-
fits to qualified applicants. Apply in con-
fidence to Personnel Manager, General
Drive-In Corporation, 480 Boylston Street,
Boston 16, Massachusetts.

Help wanted, manager. Large midwest
city theatre. Overall experience required.
Good chance for advancement. State
qualifications. Boxoffice, 9396.

Manager for small town in central Cali-
fornia. Better than average employment
opportunities and benefits. State experi-
ence, references and expected salary.
Panero Theatre Company, Inc., P. O.
Box 1058, Delano, California.

POSITIONS WANTED

Lost Lease . . . Will Travel. Manager,
operator, experience all phases of theatre
operation and maintenance. Young, ag-
gressive and bondable. Boxoffice 9395.

EQUIPMENT WANTED

Wanted: Used theatre booth equipment.
We dismantle. Leon Jerodsky, Paris, Il-
linois.

TOP PRICES PAID ... For X-L, Century
and DeVry projectors, CinemaScope
lenses, etc. What have you? Star Cinema
Supply, 621 West 55th Street, New York 19.

Simplex Powers, lenses, soundheads,
rectifiers, etc. Describe plus price. Richard
DeToto, 550 South Salina St., Syracuse,
N. Y. Also safety films.

BUY!SELL!TRADE!

FIND HELP OR POSITION

Through

BOXOFFICE

Classified Advertising

Greatest Coverage in the
Field at Lowest Cost
Per Reader

4 insertions for the price of 3

GENERAL EQUIPMENT— USED

Simplex Four Star sound system, dual
amplifier. Excellent. Out of 3,000-seat the-
atre, $495. Richard DeToto, 550 South
Salina St., Syracuse, N. Y.

DRIVE-IN THEATRE EQUIPMENT

ARVIN ELECTRIC-IN-CAR HEATERS.

Brand new, 8 per ctn. Model T-90-1, 220
volt, 500 watts, 10 ft. cord. Price, $9.75
each. Ontario Equipment Co., Toledo 1,
Ohio.

In-Car Electric Heater thermostatic
switches @ $1.20 each for 50 lot, sample,
$1.00. Large copper terminals for heater
ground wire, $10.00 per 1,000. Spade type
speaker wire terminals crimp-ons, $6.00
per 1 ,000. Heater toggle switches rated
15 amps @ 65c. Indicator lights, terminal
barrier strips, meters and other panel ma-
terial in stock. Listing is free. Berns Elec-
tronic Sales, 80 Winder St., Detroit 1,
Mich.

THEATRES WANTED

Wanted: To buy or lease drive-in the-
atres, 500-car capacity or larger. Boxoffice
| 9238.

Wanted: To lease or buy indoor theatres,
metropolitan areas, population at least
75,000. Contact William Berger, Metro-
politan Hotel, Cincinnati, Ohio.

Wanted to Buy or Lease drive-in the-
atres in Ohio, 500-car capacity or larger.
Cash deal. Boxoffice 9394.

THEATRES FOR SALE

West Coast theatres for sale. Write for
list. Theatre Exchange Company, 260
Kearny Street, San Francisco 8, California.

Two Idaho Theatres. Full price, includ-
ing buildings, $22,500. Easy terms. Both the-
atres in operation and doing O.K. Also two
more in adjacent towns that could be
circuited with these, for $50,000, on terms.
Theatre Exchange, 5724 S. E. Monroe,
Portland 22, Oregon.

THEATRE TICKETS

Prompt Service. Special printed roll tick-
ets. 100,000, $37.95; 10,000, $12.75; 2,000,
$5.95. Each change in admission price, in-
cluding change in color, $4.25 extra.
Double numbering extra. F.O.B. Kansas
City, Mo. Cash with order. Kansas City
Ticket Co., Dept. 11, 109 W. 18th Street,
Kansas City 8, Mo.

INTERMISSION TAPES

WEEKLY TAPE SERVICE: Intermission
tapes that sparkle . . . guaranteed to
sell . . . customized . . . free sample
Commercial Sound Service, P. O. Box 5,
Sulphur Springs, Texas.

BUSINESS OPPORTUNITIES

For Rent or Sale: 24 fully equipped
Brunswick lanes, well established oper-
ating business, choicest location. "La-
Salle," 945 Granville Street, Vancouver,
B. C.

SOMEONE'S OPPORTUNITY! Lost city
discovered. Pre-revolutionary. Over 100
foundations, streets, market place, forts,
etc. Authenticated by Federal Govern-
ment. Should draw minimum 200,000 visit-
ors annually at $1.00. Consider lease, sale
to qualified person or group. Boxoffice
9398.

PERSONALS

Gentlemen would like to correspond with
lady. Boxoffice, 9397.

THEATRE SEATING

Good used late model chairs available,
rebuilt chairs. Chairs rebuilt in your the-
atre by our factory trained men, get our
low prices. Parts for all makes of chairs.
Sewed covers made to your size, also
leatherette 25"x2S", 55c ea.; 27"x27", 65c
ea. Chicago Used Chair Mart, 829 South
State Street, Chicago. Phone WE 9-4519.

SEAT RENOVATING: Neat, fast, reason-
able, anywhere. Sewed combination seat
covers. Service Seating Co., 1525 West
Edsel Ford, Detroit 8, Michigan. Tyler
8-9481, Texas 4-2738.

Theatre Chairs, International, Bodiform,
)ly wood. Lone Star Seating, Box 1734,
)allas.

BUSINESS STIMULATORS
Bingo, more action! $4.50 M cards. Other
games available, on, off screen. Novelty
Games Co., 106 Rogers Ave., Brooklyn,
N. Y.

Build attendance with real Hawaiian
orchids. Few cents each. Write Flowers of
Hawaii, 670 S. Lafayette Place, Los An-
geles 5, Calif.

Bingo Cards. Die cut 1, 75-500 combina-
tions. 1, 100-200 combinations. Can be

used for KENQ, $4.50 per M. Premium
Products, 346 Weet 44th St., New York
36, N. Y.

SOUND-PROJECTION SERVICE
MANUAL

EXHIBITORS, PROJECTIONISTS — RE-
PAIRMEN: You need this Loose-Leaf Main-
tenance Manual on servicing all makes
of sound and projection equipment. The
only maintenance text book now available
on projection and sound. Additional serv-
ice sheets every month for a year. Trou-
ble-shooting charts, wiring diagrams,
schematics, simplified repairing data and
a gold mine of other helpful data, all lor
only $6.90, with a binder. Without loose-
leaf binder, $4.95. (Data on 16, 35 and
70mm equipment.) Written by practical
engineer. Cash or P. O. Order, No CODs.
Order Nowl Wesley Trout, Engineer, Box
575, Enid, Oklahoma.

POPCORN MACHINES

Popcorn machines, all makes. Complete
new popping units, $185.00 ex. Replace-
ment kettles, all machines. 120 So. Hoi-
sted, Chicago, 111.

THE ODDS

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BOXOFFICE :: January 8, 1962

U^ s T2r

THE MIGHTIEST

AMERICAN INTERNATIONAL PICTURES presents

GUNS «f the BUCK WITCH

IN COLORSCOPE

ING

DON MEGOWAN • EMMA DANIELI * SILVANA PAM PAN INI* produced by DOMENICO PAOLEUA - A FORTUNMO MISIANO production for ROMANA FILM

“rsuoosjt

* A P-*V110UVTC

2 xoa . 0 ,‘J
& T s *uom

AIP Steps Up
Production Plans
for 1962

The imposing modernistic front of new home office building of American International Pictures on Hollywood s
famed Sunset Boulevard gives evidence of the growth of the seven-year-old company. AIP toppers James H.
Nicholson (inset left) and Samuel Z. Arkoff (right) announced the company's most ambitious release program
coincident with the opening of the building which houses all the company offices under one roof.

JANUARY 15, 196

-»•' ’My--.

Everywhere in the world...
because its onjttm !

Today — people everywhere “go to the movies” —
to laugh and cry together ... to “get out of the
house,” away from it all, into a world of illusion
and make-believe, a world in which they’re loved
and beloved — conquerors, swashbucklers — anything,
everything their hearts desire.

No wonder so much time, money, and materials is
spent in making motion pictures more effective.

Nor is it any wonder that this investment is so
rewarding, or that the Eastman Technical Service is
constantly engaged in helping the industry solve its
questions of production, processing and projection.

Branches at strategic centers. Inquiries invited.

Motion Picture Film Department

EASTMAN KODAK COMPANY, Rochester 4, N.Y.

East Coast Division Midwest Division

342 Madison Avenue 1 30 East Randolph Drive

New York 17, N.Y. Chicago 1, III.

West Coast Division
6706 Santa Monica Blvd.
Hollywood 38, Calif.

For the purchase of film,

W. J. German, Inc.

Agents for the sale and distribution
of Eastman Professional Motion
Picture Films, Fort Lee, N.J.,
Chicago, III., Hollywood, Calif.

PROFIT WITH THE Splendor

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NIGHTS IN PARIS. ..ROME. ..THE RIVIERA!

Stay very
close to
me darling,
because
without you
I’m
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alive.

Jennifer

ones

l^ender*

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THE NATIONAL FILM WEEKLY

Published in Nine Sectional Editions

DATE BAIT

BEN SHLYEN

Editor-in-Chief and Publisher

DONALD M. MERSEREAU, Associate
Publisher & General Manager
NATHAN COHEN. .Executive Editor
JESSE SHLYEN .... Managing Editor

HUGH FRAZE Field Editor

AL STEEN Eastern Editor

WILLIAM HEBERT. .Western Editor
I. L. THATCHER .. Equipment Editor
MORRIS SCHLOZMAN Business Mgr.

Publication Offices: S2S Van Brunt Blvd.
Kansas City 24, Mo. Nathan Cohen, Ex-
ecutive Editor; Jesse Shlyen, Managing
Editor: Morris Schlozman, Business Man-
ager; Hugh Fraze, Field Editor; I. L.
Thatcher, Editor The Modem Theatre
Section. Telephone CHestnut 1-7777.
Editorial Offices: 1270 Sixth Ave., Rocke-
feller Center, New York 20, N. Y. Donald
M. Mersereau, Associate Publisher &
General Manager; A1 Steen, Eastern Edi-
tor. Telephone COlumbus 5-6370.

Central Offices: Editorial — 920 N. Mich-
igan Ave., Chicago 11, 111., Frances B.
Clow, Telephone Superior 7-3972. Adver-
tising — 5809 North Lincoln, Louis Didier
and Jack Broderick, Telephone LOngbeach
1-5284.

Western Offices: Editorial and Film Adver-
tising — 6404 Hollywood Blvd., Hollywood
28, Calif. William Hebert, manager, Tele-
phone Hollywood 5-1186. Equipment and
Non-Film Advertising — 672 S. Lafayette
Park, Los Angeles, Calif. Bob VVett-
stein, manager. Telephone DUnkiik 8-2286.
London Office: Anthony Gruner, 1 Wood-
berry Way, Finchley, No. 12. Telephone
Hillside 6733.

The MODERN THEATRE Section is in-
cluded in the first issue of each month.

Atlanta: Jean Mullis, P. 0. Box 1695.
Albany: J. S. Conners, 140 State St.
Baltimore: George Browning, 119 E.
25th St.

Boston: Guy Livingston, 80 Boylston,
Boston, Mass.

Charlotte: Blanche Carr, 301 S. Church
Cincinnati: Frances Hanford, UNiverslty

1- 7180.

Cleveland: W. Ward Marsh, Plain Dealer.
Columbus: Fred Oestreicher, 52% W.
North Broadway.

Dallas: Mable Guinan, 5927 Winton.
Denver: Bruce Marshall, 2881 S. Cherry

Way.

Des Moines: Pat Cooney, 2727 49th St.
Detroit: H. F. Reves, 906 Fox Theatre
Bldg., WOodward 2-1144.

Hartford: Allen M. Widem, CH 9-8211.
Indianapolis: Norma Geraghty, 436 N. Il-
linois St.

Jacksonville: Robert Cornwall, 1199 Edge-
wood Ave.

Memphis: Null Adams, 707 Spring St.
Miami: Martha Lummus, 622 N.E. 98 St.
Milwaukee: Wm. Nichol, 2251 S. Layton.
Minneapolis: Don Lyons, 72 Glenwood.
New Orleans: Mrs. Jack Auslet, 2268%
St. Claude Ave.

Oklahoma City: Sam Brunk, 3416 N. Vir-
ginia.

Omaha: Irving Baker, 911 N. 51st St.
Philadelphia: A1 Zurawski, The Bulletin.
Pittsburgh: R. F. Klingensmith, 516 Jean-
ette, Wilkinsburg, CHurchill 1-2809.
Portland, Ore.: Arnold Marks, Journal.
Providence: Guy Langley, 388 Sayles St.
St. Louis: Joe & Joan Pollack, 7335
Shaftsbury, University City, PA 5-7181.
Salt Lake City: H. Pearson, Deseret News.
San Francisco: Dolores Bamsch, 25 Tay-
lor St., ORdway 3-4813; Advertising:
Jerry Nowell, 417 Market St., YUkon

2- 9537.

In Canada

Montreal: Room 314, 625 Belmont St.,
Jules Larochelle.

St. John: 43 Waterloo, Sam Babb.
Toronto: 2675 Bayvicw Ave., Willowdale,
Ont. W. Gladish.

Vancouver: 411 Lyric Theatre Bldg. 751
Granville St.. Jack Droy.

Winnipeg: 93 Albert St., Barney Brookler.

Member Audit Bureau of Circulations

Second Class postage paid at Kansas City,
Mo. Sectional Edition, $3.00 per year.
National Edition. $7.50.

JANUARY 15, 1962

Vol. 80 No. 13

O VER the past several years, almost every
survey made to determine from which
age bracket motion picture theatres derived the
greater part of their patronage showed it to be
the 12-24 age group. Yet, while much lip-service
has been given to the importance of catering to
these young people, increased attention has been
given to the making of pictures for adult audi-
ences, with an overdoing of low-key, downbeat
subject matter. What effect this has had or can
have on the younger patrons may be gleaned
from some data that has been brought to our
attention.

Dating couples are steady patrons of motion
pictures, as exhibitors well know. Yet a recent
personal survey among college and high school
students shows that many of them are dis-
contented with the type of entertainment offered
them on their theatre dates. Questioning brought
out the following comments:

“Why don’t they have more romances and musicals?
Who wants to take his best girl to see people suffer to
the bitter end?” (Young man’s viewpoint).

“No, sordid pictures don’t shock me though they’re
a little embarrassing if I’m with a boy I don’t know
very well. They just don’t entertain me — I guess
you’d say they bore me. I’m getting tired of all that
psychopathic stuff.” (Young girl’s viewpoint).

“Seems to us the movie-makers are in a rut. They
don’t have much variety in what they’re showing lots
of the time. They’ve made some wonderful pictures
recently but we’d like to see more comedies — and some
love stories about young people, that have happy end-
ings. We’re a little tired of these middle-aged affairs,
too. Honestly, the way they carry on, why do they call
our generation delinquent?” (Group opinion).

All of which should be taken to heart by every
branch of the industry. When dating couples
make up such a large segment of the motion
picture patronage, wouldn’t it be a good idea to
consider their tastes before making product?

Exhibitors have complained that, particularly
on Friday nights, the young people practically
take over their theatres and often make it hard
for other customers to enjoy the show. Instead
of paying attention to what is on the screen, they
talk back and forth to each other and make gen-
eral nuisances of themselves. Why?

Wouldn’t it be wise to check what is playing
and honestly evaluate its interest for those
young people? Does it have any entertainment
value for them? And if not, who is to blame for
showing it on that particular night?

Certainly, motion pictures have been suffering
from growing-up pains lately and have gone
from one extreme to the other in some in-
stances. It may be that for a while certain
young people got a kick out of going to see pic-
tures classified as “adult.” But they are not
naturally introspective nor are they generally
inclined to be morbid.

In fact, in spite of what some people say,

young people have always been idealists and
when they go out on dates with stardust in their
eyes, they still like romance better than raw sex
- — the two are not synonymous. They still like
heroes they can admire and heroines they can
respect. Anything else sells them and their
generation short.

So let’s have a few more pictures geared to
the couples who go to the theatre by choice on
their dates and come out feeling at least as happy
as they went in, not depressed by the social and
political problems of the world.

★ ★

AlP's Fine Record

No finer tribute could be paid to a producing-
distributing company than to have its customers
say that its product and service have been
profitable to them — and indispensable to their
needs. Such is the case in the instance of
American International Pictures. Leading ex-
hibitors, writing to congratulate the heads of
this progressive young company on its Seventh
Anniversary observance, have given expression
to such phrases as “an inspiration to the entire
industry” . . . “performed a great service to
all of the exhibitors on a worldwide basis” . . .
“have become an important source of supply for
our theatres” . . . “made a most sizable con-
tribution to the product voids with many profit-
able pictures” and other equally complimentary
remarks.

So the Messrs. Nicholson, Arkoff, Blender
and company can well take pride in what they
have accomplished since their very small begin-
ning seven years ago. It seems that they came
along with the “right idea at just the right time”
and that they knew what to do with it and how
to do it. In fact, it is that “how” — both in the
product offered and in the merchandising ideas
developed for it — that provided exhibitors with
the means for profitable bookings.

As will be noted from articles elsewhere in
this issue, AIP is not resting on its oars, but is
continuing its path of progress by further up-
grading its product output, seeking to increase
its grossing potential by putting more “wool into
the cloth.” Good merchandise and good mer-
chandising are recognized by AIP’s heads as an
unbeatable combination.

We add our congratulations to Jim, Sam and
Leon, with a nod to Milton Moritz for his direc-
tion of AIP’s promotional work, and wish them
many more years of continuing progress.

CHANCES OF REVISING DECREES
REMOTE, SAYS TOA'S COUNSEL

PCA Seals Issued to 254 in 1961;
43 Above I960, Highest in 3 Years

Levy Bases His Opinion
On Efforts Made in
Meat-Packing Case

NEW YORK — On the basis of antitrust
litigation involved in the case of United
States vs. Swift & Co., Armour & Co., et al,
the chances of revising or vacating the
consent decrees in the government’s suit
against the motion picture distributors are
remote, according to Herman M. Levy,
general counsel of Theatre Owners of
America.

SUIT WAS STARTED IN 1920

The Swift-Armour case was started by
the government in 1920 and, through the
years, efforts to get the decrees changed or
eliminated by the defendants have been
futile. For that reason, Levy said that
while that suit was not a motion picture
case, it deserved analysis and study by all
segments of the film industry which, from
time to time, had commented on revising or
vacating the decrees in U.S. vs. Paramount
through court action.

In the Swift case, the antitrust suit was
against the “big five” of the meat-packing
industry, the government charging the de-
fendants with dominating the purchase of
livestock and other factors in that busi-
ness. Under the decrees, the defendants
were prohibited from extending their busi-
ness activities, principally in the grocery
field and retail marketing, and were en-
joined from operating supermarkets. They
were foreclosed from vertical integration,
just as the divorcement decree in the
Paramount case prohibited five distributors
from showing their own pictures in their
own theatres.

Levy pointed out that antitrust au-
thorities had stated that ten years was
sufficient time to judge the efficacy of
antitrust decree; that is to say, whether
they eliminated the restraints, conspiracies
and monopolies sought to be remedied.
Ten years have elapsed since the entry of
all of the decrees in the Paramount case
and. Levy said, it was not surprising that
there had been thinking about revisions.

BOON TO DISTRIBUTION

Levy said that those most vocal had
been the exhibitors and that the distri-
butors had been discreetly silent, for good
reason. The decrees, he declared, were a
great boon to distribution because it was
able to use the decrees as a means of
fostering competitive bidding. In addition,
Levy said, in part at least, the decrees in-
sulated distribution against competition in
that field by enjoining the former affiliated
circuits from engaging in distribution.
Thus, he continued, the decrees had
helped to contribute to the film shortage
and had given the distributors the oppor-
tunity to take full advantage of the product
famine by competitive bidding.

Many in exhibition, Levy said, believed
that the decrees left much to be desired
and that they had not been sufficiently
enforced. Others were of the opinion that

HOLLYWOOD — In a report by Produc-
tion Code Administration administrator
Geoffrey Shurlock to Eric Johnston, presi-
dent of the Motion Picture Ass’n of
America, it was disclosed that certificates
of approval were issued to 254 feature films
during 1961, the highest figure since 1958.

The total was a sharp rebound from the
1960 figure of 211, a year in which two ma-
jor studio strikes halted film production
for several weeks, and a marked increase

the decrees should be revised. For example,
many exhibitors believe that exclusive
hard-ticket engagements, accompanied by
extended runs, violate the injunctions
against unreasonable clearances as to time
and area. Some believe that the injunc-
tions against former affiliates entering the
distribution business should be eliminated.
Levy said others believed that the device of
licensing pictures “when, as and if avail-
able,” rather than under the old system
of specific clearances set out in the licens-
ing agreement, was a means of imposing
unreasonable clearances. And still others,
he said, felt that a return to a form of
block booking would result both in more
product and make it easier for theatres to
operate by giving them a backlog of
product.

In the Paramount case, the court specif-
ically reserved jurisdiction to make
changes in the decrees. Levy said there was
no question, therefore, that the court had
the power to reexamine the decrees in the
light of present conditions in the industry
and, if it should find them necessary and
proper, to order changes.

In order to be heard on the subject of
revision, however. Levy said the matter
must be brought to the court’s attention
by action and only by a party in the case.
Exhibition was not a party to the Para-
mount suit, although granted amicus
curiae status for limited purposes. An
amicus curiae does not have the privilege
of initiating court actions along the lines
indicated. Only the government, a distri-
butor defendant or a former affiliate could

over 1959 when 223 features received seals.

Of the 112 films made abroad in 1961,
the report said that 58 were made by
American companies and the remaining 54
by foreign producers.

The number of feature scripts submitted
to the PCA reached 242 in 1961, as com-
pared to 222 in 1960 and 254 in 1959.

Following is a breakdown of last year’s
total figure together with the comparable
figures for 1959 and 1960:

1961 1960 1959

bring a motion to revise or vacate the
decrees.

Moves to revise or vacate the meat-
packing case have been rejected. On the
basis of those decisions, Levy said, the odds
would be against success in the Paramount
case.

In 1930, both Swift and Armour peti-
tioned for revision of their deci’ees on the
grounds that the decrees had become un-
just in view of radical and revolutionary
changes in the business which “were both
unexpected and unforeseen and had
worked a revolution in food distribution
methods.” A district court granted some
relief, but the government took an appeal
to the Supreme Court which, in 1932, re-
versed the district court and ordered the
decrees reinstated in full.

The defendants waited 24 years before
trying again for modification. After
months of hearings, the district court in
Chicago refused all requests for changes in
the 1920 decree. As an indication of the
practically insurmountable burden to
change a decree, Levy cited the court’s
quotation from the Supreme Court deci-
sion in the original hearing:

“No doubt the defendants will be better
off if the injunction is relaxed, but they are
not suffering hardship so extreme and un-
expected as to justify us in saying that
they are victims of oppression. Nothing less
than a clear showing of grievous wrong
evoked by new and unforeseen circum-
stances should lead us to change what was
decreed after years of litigation with the
consent of all concerned.”

Domestic:

Produced

and released by members

Produced

by non-members, released by

members

100

Produced

and released by non-members

142

120

150

Foreign :

Produced

and released by members

Produced

by non-members, released by

members

Produced

and released by non-members ...

18 (112)

4 (91)

12 (73)

254

211

223

BOXOFFICE :: January 15, 1962

Strong Product Seen
In May-June Period

NEW YORK — Exhibitor concern over an
apparent dearth of quality product in May
and June may be premature and unwar-
ranted, a checkup last week revealed. In-
asmuch as Easter will come late this year
— April 22 — the Easter releases are ex-
pected to carry over May and June and,
according to Edward Hyman, vice-presi-
dent of American Broadcasting-Para-
mount Theatres, there will be a “flock of
good pictures for Easter.”

Both national exhibitors associations —
Theatre Owners of America and Allied
States Ass'n — have been putting pressure
on the major distributors to release top
product in non-holiday periods, the sub-
ject having been an important agenda item
at their annual conventions. It is reported
that at least two of the companies have
given assurances that they would make
available top quality pictures in May and
June; that is, after Easter and prior to
July 4.

The distributors, it is said, have been re-
luctant to release their so-called block-
busters in the non-holiday spans be-
cause exhibitors, in the past, have not
given them the campaigns they deserved.
One exhibition leader told Boxoffice that
the only way exhibitors could get the big
pictures at a time when they needed them
was to get behind every picture with strong
promotion and advertising. When they do
that, he said, distributors will not be hesi-
tant in providing a steady flow of product.

Hyman said that the prospects for strong
film fare next summer were very bright.
He said that he was preparing the sched-
ules based on information provided by the
companies and that the data would be
ready for publication in mid-March.

Green Sheet Rates 12
On January Listing

NEW YORK — Three features reviewed in
the January Green Sheet were given adult-
only ratings, five were listed as suitable for
adults and mature young people, two others
for adults, mature young people and young
people, and two were rated as family
entertainment.

The Green Sheet, which is published by
the Film Estimate Board of National Or-
ganizations, gave its family ratings to
Buena Vista’s “Babes in Toyland” and
Paramount’s “The Errand Boy.” At the
adults-only end of the scale were MGM’s
“Colossus of Rhodes,” United Artists’ “Sea-
son of Passion” and Paramount’s “Too Late
Blues.”

In the A-MY bracket were 20th Century-
Fox’s “Bachelor Flat,” “The Innocents”
and “Madison Avenue,” United Artists’
“One, Two, Three” and Columbia’s “Sail a
Crooked Ship.”

Classified in the A-MY-Y group were
Universal’s “Flower Drum Song” and
United Artists’ “Pocketful of Miracles.”

New Distribution Firm

NEW YORK — Three Task Pictures plans
to establish a distribution company for the
handling of independent producers on an
international scale. Allen Klein, executive
producer of Three Task, said offices would
be established in Hollywood, Mexico City,
Rome and Berlin.

MGM Names Weitman
Studio Administrator

Allied Pledges Its Support
For Skouras Campaign

Cleveland — Allied States Ass’n will
do everything in its power to help
make a success of the worldwide cele-
bration honoring Spyros P. Skouras,
president of 20th Century-Fox, on the
occasion of his 20th anniversary as
head of the company.

Marshall Fine, Allied’s president,
sent a wire to Skouras this week ex-
tending the association’s congratula-
tions on his two decades as 20th-Fox
president, and promising that Allied
“will do everything in its power to
publicize and aid in the success of this
most worthy effort.”

Global activities for the 13 -week
drive got under way earlier this month,
and top sales personnel of the 20th-Fox
organization are now touring exchange
offices to stimulate the campaign at
regional levels.

Arthur M. Tolchin Named
Assistant to Loew's Head

NEW YORK — Arthur M. Tolchin, execu-
tive vice-president and director of WMGM,
New York radio station which was trans-
ferred to the Storer Broadcasting Co. Janu-
ary 5, has been named assistant to the
president of Loew’s Theatres, Inc., by
Laurence A. Tisch, president and chairman
of the board.

His new assignment will encompass the
coordination of all departments, activities
and projects involved in the company’s
theatre operations. He will be responsible
to both Laurence A. Tisch and to Preston
R. Tisch, chairman of the executive
committee.

Tolchin’s association with Loew’s began
24 years ago as a time salesman for radio
station WHN (later changed to WMGM).
Under his direction since 1954, the station
rose to a leading position in the local
broadcasting field, culminating in the
l’ecent sale to Storer for $10,950,000, said
to be the largest sum ever paid for an in-
dividual radio station.

The Loew executive staff, comprising
Herbert A. Hoffmann, senior vice-president
in charge of corporate matters; John F.
Murphy, executive vice-president in charge
of film buying and booking; Ernest Emer-
ling, vice-president and advertising di-
rector, and Charles E. Kurtzman, general
manager of theatre operations, will work
in association with Tolchin.

Zukor's 89th Birthday

HOLLYWOOD — Adolph Zukor, chair-
man of the board for Paramount Pictures,
was feted by family and friends on the oc-
casion of his 89th birthday on January 7.
Zukor arrived from New York to head-
quarter at the studio here for his annual
winter visit.

HOLLYWOOD — Stepping up from the
position of vice-president in charge of
television, Robert M.

Weitman has been
appointed vice-presi-
dent and studio ad-
ministrator of Metro-
Goldwyn - Mayer, it
was announced by
president Joseph R.

Vogel. Weitman as-
sumes his newly
created post immedi-
ately, following the
withdrawal of Sol C.

Siegel as production
chief to resume inde-
dependent production
lot.

Vogel will work in close association with
Weitman, and during the coming months
plans to spend a major portion of his time
at the MGM studios.

While during recent years Weitman has
served as a top executive in various fields
of television, assuming the position of vice-
president in charge of TV operations in
May 1960, he has had an equally wide back-
ground in motion picture and theatre
operations.

Prior to heading MGM’s video produc-
tion, he was with CBS-TV as vice-president
in charge of program development for two
years, and then vice-president in charge of
all independent production. From 1953-56,
he was vice-president in charge of pro-
gramming and talent for ABC-TV.

Weitman entered television from the post
of vice-president of Paramount Pictures,
in charge of all Paramount de luxe the-
atres, in which capacity he served as a
liaison between the studio and the theatres.

Earlier, he had been managing director
of the Paramount Theatre in New York,
where he won recognition among showmen
for instituting the successful “big-name
personality” and “big band” policy.

In naming Weitman to his new position,
Vogel declared: “Weitman in the past two
years has made an important contribution
to MGM in the field of television produc-
tion. With a consistent background of
achievement as a creative production
executive his combination of showmanship
and business ability will mean much to
MGM’s future.”

Loew # s Theatres Has First
Quarter Net of $528,400

NEW YORK — Loew’s Theatres had gross
revenues of $10,350,000 in the first quarter
of the current fiscal year, ended November
30. After providing for income taxes of
$561,000 and depreciation of $764,000, a
net income of $528,400, equal to 20 cents
per share of the common stock, was real-
ized.

For the comparable period of the pre-
ceding year, gross revenues amounted to
$9,800,000. After providing for $492,000 for
taxes and $718,000 for depreciation, a net
income of $403,800, equal to 15 cents per
share, was reported.

Robert M. Weitman

on the Culver City

BOXOFFICE :: January 15, 1962

Fear a Censorship Revival

Movie Research ' Project
Protested by Exhibitors

NEW YORK — A “research project’’ in-
stituted by Daystar Productions, of which
producer Leslie Stevens is the head, is be-
ing met with protests by some exhibitors
in the west and midwest, particularly in
Kansas. Iowa and Colorado. For what ap-
pears to be a poll of the public’s film tastes
actually could lead to a revival of censor-
ship efforts, according to protesting ex-
hibitors who, apparently, see a publicity
gimmick behind the survey project.

GENEROUS SPACE TO POLL

Newspapers in midwest and Rocky
Mountain towns have given generous space
to the poll, following receipt of letters from
Daystar addressed, usually, to the Cham-
bers of Commerce — and exhibitors in the
areas are reported to have registered their
opposition to the project with their theatre
associations and to the Motion Picture
Ass’n of America.

Stevens was the producer of “A Private
Affair” and “The Marriage-Go-Round”
and currently is making “This Land of
Ours” for United Artists release.

The first paragraph of the Daystar let-
ter points out that the named selected city
had been proposed to Daystar as a possible
test city for a research project of critical
importance to the motion picture industry
and then continues as follows:

“The motion picture industry is at the
crossroads. In the very real struggle for
men’s minds — the filmmakers, along with
all those in the professions which influence
the minds or morals of men, has a decision
to make. What that decision will be de-
pends much upon what is learned from key
regional cities such as (name of town) .

“This is a specific request for coopera-
tion by your community in answering ques-
tions which only you can answer with on-
the-spot authority. We have forsaken the
Madison Avenue ‘poll’ for a direct contact
with the young and old who pay admissions
to the motion picture theatres of (name of
town) .

STARK REALISM QUESTIONED

“We are frank in admitting that finan-
cially successful boxoffice receipts from
wide areas support those who believe the
stark, emotionally naked ‘adult’ film fare,
with its accompanying sex and violence, is
what the people want. Yet there are con-
stantly heard cries of protest from many
who declare the movies are doing a great
disservice in allowing such films to be
produced.

“We want to know:

“Are the movies in danger of losing
the mass audience because of the sex-
and-violence subject matter being pro-
duced today?

“Or is there a genuine desire in this
modem, realistic and frank world for
the earthy, raw, unashamed film fare?

“In light of the seeming confusion,
is there still an audience for the in-
telligently produced family film?

“We would like to hear from all cross-
sections of (name of town) , children,

adults, churches, schools, civic groups,
newspapers, broadcasting media — the lead-
ers of thought in (name of town).

“This project will be many weeks in its
50 -state probing. But what is finally
learned will not only influence the future
films produced by Daystar, but depending
on the response from cities such as (name
of town) — the film product released by all
of Hollywood.

“We wish to establish a direct ‘line-of-
communication’ with:

“1. The principal churches in (name
of town) .

“2. The principal elementary, sec-
ondary, and college educational insti-
tutions in (name of town) .

“3. The important, responsible civic
groups and public-minded organiza-
tions in (name of town).

“4. Radio, TV stations, and theatres
in (name of town).

“As much as possible we would appre-
ciate detail, i.e., names and business ad-
dresses of church leaders, educators, presi-
dents, secretaries of groups and organi-
zations. We would also appreciate the
name of your mayor and other key civic
leaders.

“Your initial effort in returning the in-
formation requested will determine the ex-
tent of effort to be directed toward (name
of town) as a basic source of Audience
Information.”

DETROIT — A projectionist taken off the
job by action of the union is not entitled
to unemployment compensation, a Michi-
gan state circuit court judge ruled this
week in a precedent-making decision. The
ruling is expected to reduce the unemploy-
ment compensation tax paid by exhibitors.
It also holds interest for theatremen in
other states, too, as the problem is one
which often faces exhibitors elsewhere.

The rate of the unemployment compen-
sation tax is based on the number of claims
against each business, and varies from one
to four per cent in Michigan. A similar
merit system for unemployment rates is
used in other states.

“Actually motion picture theatres should
pay the very lowest tax rates because they
offer steady employment and seldom, if
ever, lay off an employe for lack of work,”
Michigan Allied president Milton London
said. However he cited a practice in re-
cent years of claims by relief and part-
time projectionists, resulting in a higher
rate for many theatres.

The State Employment Security Com-
mission earlier had ruled that the pro-
jectionists should receive compensation be-

Mirisch-Millar/Turman
In Multiple Film Deal

HOLLYWOOD — A multiple -picture deal
has been concluded by the Mirisch Co. and
Millar/Turman Productions, with the first
film to be “Summer Flight,” starring Oscar
winner Susan Hayward, for United Artists
release.

Joseph Hayes, who penned “The Young
Doctors,” recent Millar/Turman success,
will write the screenplay for “Summer
Flight,” which was suggested by the 1939
motion picture “Dark Victory.”

The new Mirisch-Millar/Turman deal is
in addition to a previously announced four-
picture pact the two companies have with
UA. Included in the latter contract, and
exclusive of the new deal, is “The Lonely
Stage,” which Millar/Turman will produce
in England with Judy Garland starring
under the direction of Ronald Neame.

Scheduled for a mid-1962 lensing in
London, “Summer Flight” will be a joint
venture between Mirisch Films, Ltd., and
Millar/Turman’s British company, Bar-
bican Films, in association with Carrollton
of Panama Corp., headed by Miss Hay-
ward’s husband, Eaton Chalkley.

Producers Millar and Turman plan to
leave for London January 20 to start pre-
production preparations for “Summer
Flight” and “Lonely Stage,” both to be
shot at Shepperton Studios this summer.

British Film to Kingsley

NEW YORK — Kingsley International
has acquired U. S. distribution rights to
Only Two Can Play,” a Frank Launder-
Sidney Gilliat production made in Eng-
land and directed by Gilliat based on the
Kingsley Amis novel, “That Uncertain
Feeling.” Peter Sellers is starred with Mai
Zetterling, and Virginia Maskell featured
and Richard Attenborough as guest star.

cause they were unemployed through no
fault of their own, and theatres had a con-
tract which allowed the union to control
employment. The union contended this
control was a convenience for employers
and they needed extra men to handle
vacations, illnesses and emergencies.

The circuit court decision now prohibits
the Commission from granting compensa-
tion when unemployment is caused by an
act of the union, stating:

“Logic demands that the acts of the
(union) agent be construed to be the acts
of the claimant. The claimant left a po-
sition which continued to exist. It fol-
lows that the claimant is disqualified from
collecting unemployment compensation.
The alternative would throw an unfair
burden on employers who maintain stable
employment. The union might grow to the
point where it had double the number of
men needed for the available jobs. In such
a situation there would be 50 per cent un-
employment at all times.”

The court ordered the projectionist
claimant to return $570 to the Commission
and the Commission to refund overpay-
ment to the exhibitor.

Operator T aken Off Job by Union Held
Ineligible for Unemployment Payments

BOXOFFICE :: January 15, 1962

Decline 'Has Reached Bottom'

Improved British Market
For U. S. Films Is Seen

To Confer February 1
On Runaway Filming

HOLLYWOOD — A joint labor-manage-
ment conference to explore possibilities of
increasing the number of motion pictures
made in Hollywood and reduction of those
made abx-oad will be held February 1.

Charles S. Boren, executive vice-president
of the Association of Motion Picture Pro-
ducers, will chairman the meeting at the
AMPP headquarters, with George Flaherty,
president of the Hollywood AFL Film
Council, as cochairman.

Invitations to the conference will go to
all AMPP members, to all Film Council
delegates and to leading independent pro-
duction companies.

In a letter to Boren proposing the joint
meeting, H. O’Neil Shanks, Film Council
secretary and chairman of its foreign film
production committee, said:

“Our council has been made aware that
your association apparently shares with
us a willingness to seek the ingredients of
a solution for the problem of so-called ‘run-
away’ production. The council believes
considerable progress can be made in a joint
conference toward formulating specific
answers to the economic pressures created
by the United States tax structure, the pro-
duction incentive available in a number of
foreign countries and other factors, which,
in our opinion, threaten to destroy the mo-
tion picture industry in Hollywood.”

Griffing Construction Co.
Back for Drive-In Jobs

ALBUQUERQUE, N. M. — Tom Griffing,
veteran drive-in theatre building contrac-
tor, has announced his return to the field.
He stated his company has just placed
orders for new heavy duty earth-moving
machinery, including the latest oil distribu-
tors and asphalt equipment to help speed
the construction time as well as reduce
construction costs.

Griffing’s company has just completed
construction of the Wyoming Drive-In in
Albuquerque, the firm’s 266th drive-in the-
atre job. Another drive-in, the Silver
Dollar in Albuquerque, is scheduled.

The general offices of the organization,
known as the Tom Griffing Construction
Co., are located here and the firm has
crews available for work on new outdoor
theatres in any part of the country. The
company does complete turn-key jobs, ac-
cording to Griffing, and will finance new
drive-in theatres for individuals, as well as
circuits.

Grosz Named Art Director
Of UA; With Fox 14 Years

NEW YORK — Paul Grosz, who has been
art manager of 20th Century-Fox for the
last five years, has resigned to become art
director of United Artists, effective Janu-
ary 15. He will succeed Herbert Jaediker,
who retired after almost 30 years with UA.

Grosz entered the motion picture in-
dustry 33 years ago as a member of Uni-
versal Pictures’ art department. Sub-
sequently, he served in various capacities
with Warner Bros., Paramount Pictures,
Lord & Thomas agency, Buchanan & Co.
and the Monroe Greenthal Agency. He has
been with 20th-Fox for the last 14 years.

NEW YORK — The “bottom has been
reached” in theatre closings in Great
Britain, and from now on the U.S. film
industry can look toward an improving
situation in that market. This was reported
here this week by A. Roland Thornton,
London representative of the Motion Pic-
ture Export Ass’n, in his annual review of
conditions in Great Britain as they affect
American film producers and distributors.

Thornton said theatres continued to
close or be converted into bowling alleys,
bingo halls and dance halls, although the
rate of closures and conversions had
slowed down during 1961.

From a total of 4,584 cinemas in 1950,
the number fell to 3,034 at the end of 1960,
the last official figure. Thornton expressed
the opinion that the number operating full
time today probably was about 2,870. Sev-
eral hundred theatres switched to bingo or
half -bingo and half-films. A probable fig-
ure at which full time theatres were op-
erating would be 2,500.

The Cinema Exhibitors Ass’n again will
raise the proposal that any sums received
from the British Film Production Fund
should be refunded in the event the in-
volved films were sold to television. The
completion of the fourth year of the
statutory levy under the British Film Fund
Agency showed that collections for the
period had amounted to nearly £4,000,000.
The Film Fund Levy represents a flat ten
per cent on all admissions of one shilling
and above.

The Film Industry Defense Organization,

Bahn, Film Daily Editor,
Dies on Coast at 68

LOS ANGELES— Chester B. Bahn, editor
of The Film Daily and for 40 years a daily
newspaper and tradepress writer on motion
picture industry affairs, died of a heart
attack here Monday (8). He was at the
Universal Pictures studio commissary when
he was stricken and died in an ambulance
en route to a hospital. He was 68 years old.
Funeral services were held Friday (12) .

Bahn joined The Film Daily staff as
managing editor in 1936 and was promoted
to editor a year later. Before joining the
trade publication, he was with several
Syracuse, N. Y. newspapers. Between 1922
and 1935, he was film critic, columnist and
editorial writer on the Syracuse Telegram-
American, Sunday editor and film critic of
the Syracuse Herald, and for a time head
of the International Service bureau in that
city.

For the last two years, Bahn had been
living in California where he made his
headquarters at The Film Daily’s west coast
office. He is survived by his wife, Mrs. Irene
Bahn; three sons, Gilbert, Chester B. jr.
and Philip, and five grandchildren. In lieu
of flowers, the family requests that con-
tributions be made to the Will Rogers
Memorial Hospital in Lake Saranac, N. Y.

since its formation in August 1958, has
paid out more than £1,000,000 to acquire
agreements to prevent films being shown
on television. Thornton said agreements
had been completed in respect to 665 reg-
istered feature films and many more were
under negotiations.

In agreeing to keep a film off television,
the producers (or owners of TV rights)
retain all of the cinema and other rights
and are not prevented from exploiting
them.

The general public attitude toward
American films has undergone a gradual
and more favorable change in the past
years, Thornton said. He said there were
still attacks, generalized and wild criticisms
and assaults by groups of special pleaders
which had to be countered swiftly, but on
the whole, these had been fewer and less
acid.

Efforts to get the press to return to the
practice of giving more adequate space to
films showed definite signs of success, it
was reported. Three big London papers
have gone along with this, he said, espe-
cially the Beaverbrook press. Frequent
contacts with the powerful provincial
press, which caters to 70 per cent of the
population, have been fruitful and the
London Evening News, said to have the
largest evening newspaper circulation in
the world, especially gives U.S. films and
affairs good coverage, Thornton reported.
This has resulted in the MPEA London
office becoming a nationwide information
office on film matters.

NSS to Handle Distribution
Of Industry Radio Jingle

NEW YORK — The film industry’s radio
jingle will be available later this month
through National Screen Service offices.
The jingle, which was written by Si Seadler
of MGM, may be used as a lead-in for live
commercials for specific pictures on the
local level.

Three circuits, RKO, Loew’s and Stanley
Warner, already have ordered large quan-
tities of the discs for their own theatres and
others are expected to follow. Produced by
Suski Associates as an industry contribu-
tion, the records were made by MGM
Records at cost.

Plans for the national handling of the
ten-second commercial will be announced
next week by the advertising and publicity
directors committee of the Motion Picture
Ass’n of America.

Greg Morrison Returns
To Fox Publicity Dept.

NEW YORK — Greg Morrison has been
named 20th Century-Fox representative
for national magazines and book publishers.
He is replacing Saul Cooper who resigned
to rejoin Paramount Pictures.

BOXOFFICE : : January 15, 1962

Allied's Milton London Protests, So Billy Wilder
Explains His Charge of Poor Theatre Operations

DETROIT — A vigorous challenge to “the
maliciously libelous statements against ex-
hibitors" made by Billy Wilder, prominent
independent producer, as reported in the
tradepress at a recent press conference,
was issued by Milton H. London, executive
director of National Allied. Wilder in turn
assured London that he had “been rudely
misquoted or at least half-quoted" in the
press report referred to, and that he was
not attacking all exhibitors, as an earlier
story appeared to have it, but only a cer-
tain type.

GIVES BENEFIT OF THE DOUBT’

London in his statement to Wilder gave
him the benefit of the doubt by suggest-
ing misquotation, but said that if they were
true, it revealed a disturbing ignorance of
the industry which enables you to live
rather well and of the men who represent
96 per cent of the invested capital in that
industry. Granted that few if any ex-
hibitors possess your creative ability, the-
atre men are no less necessary to the
functioning of that industry.”

London contended that the thousands of
exhibitors he knows are “as individuals . . .
men of intelligence and integrity. Without
these qualifications a man does not sur-
vive long in this highly specialized, in-
tensely competitive business.”

He cited seeing Wilder’s own “One, Two,
Three” the preceding weekend at the Mer-
cury Theatre, and countered Wilder’s at-
tack on theatre conditions, particularly in
the area of poor housekeeping, with “The
management and physical condition of
the theatre, the presentation of your prod-
uct could not possibly be criticized. This
is the rule not the exception in today’s
motion picture theatres.”

Expressing a high regard for Wilder’s
“unique creative talents,” London said in
a personal interview that “Wilder is a
genius. He creates the type of pictures we
need in our business — they are successful,
they are entertaining, they bring people
into our theatres.”

RECOGNIZE NEED TO IMPROVE

“Exhibitors are not unmindful of the
need to modernize their theatres,” London
challenged. He cited in documentary proof
the speech of National Allied president
Marshall H. Fine to the Michigan Allied
convention here on September 26, in which
he discussed the checklist of operational
details systematically used in his own the-
atres, and counseled on the opportunity to
bring back the once “lost” audience — “The
exhibitor doesn’t notice in his own theatre
what the new customer coming back might
notice — it may be bulbs out on the marquee,
paint chipped in the lobby, or inadequate
ventilation. When that new customer comes
back, it is very important what he finds
there.”

Exhibition has been doing an aggressive
job of stimulating theatres to keep up and
upgrade their appearance, London stressed,
emphasizing this by the strong attention
given to this phase in the 1962 Merchan-
dising Manual recently issued by Allied,

keynoted by the article, “Brighten Your
Future,” by Fine on page five.

Wilder in reply to London’s challenge
stated that his remarks were given at an
informal dinner, and that “I had bitterly
reiterated the complaints of many of my
civilian friends who frequent neighbor-
hood theatres and find sound and picture
projection in an abominable state. Some
of them had difficulty in locating the the-
atre manager to state their complaints and
in some cases when they did find him
they were told to mind their own business.”

Citing examples right from the heart of
the industry in Hollywood, Wilder said his
collaborator, Mr. Diamond, recently went
to the Paramount there and “they care-
lessly started with Reel 3” on “One, Two,
Three. Again, his in-laws went to a neigh-
borhood house for a Cinemascope picture,
but the owner “did not even bother to in-
stall the correct size screen, so that the
film spilled over the curtains on both
sides.”

STICKS TO BASIC CHARGE

He stuck to his basic indictment, but
explained that “It’s an outrage that so
much sweat and money is expended on
making a film when so many exhibitors
evidently don’t give a hoot. So what I ac-
tually said was that it was this type of ex-
hibitor who seems to have a license to
steal.”

Expressing an unwillingness to widen any
rifts in the industry, Wilder concluded that
“I have nothing but sincere admiration for
the exhibitor who puts as much care into
the showing of the picture as we do into
the making of it.”

'Konga' Hits Worldwide
Gross of $2 Million

HOLLYWOOD — “Konga” has racked up
a worldwide gross of over $2,000,000 in the
first 24 weeks of release, according to Her-
man Cohen who produced the picture for
release through American-International
Pictures. And Cohen says it looks like
“Konga” will reach a gross figure of close
to $3,000,000, thus topping “I Was a Teen-
age Werewolf” and “Horrors of the Black
Museum,” which he also produced.

“Konga” was produced in Cohen’s new
process of Spectamation and Eastman
Color and took more than a year in shoot-
ing and working on the trick photography
and special effects.

Ingrid Bergman Is Signed
To 20th-Fox Contract

HOLLYWOOD — Twentieth Century-Fox
has signed Ingrid Bergman to a two-picture
contract, with “The Visit,” a novel by
Frederick Duerrenmatt, set as the initial
film to star the actress. Henry T. Wein-
stein will produce and J. Lee Thompson
will direct. A September starting date has
been slated for the vehicle.

Second feature scheduled to star the
actress is “First Love,” filmization of the
Broadway play.

Gala Films Completes
U.S. Release Deals

NEW YORK — Kenneth Rive, managing
director of Gala Film Distributors of Eng-
land, has returned to London after a series
of conferences the first week of January
with Columbia Pictures, for whom Gala
sub-distributed all foreign-language pro-
duct in the United Kingdom, and Gordon
Films, which represents Gala in New York.
Alan Vannier, manager of Gala’s Paris of-
fice, accompanied Rive to New York.

Gala will start a new picture, tentatively
titled “The Boys,” starring Richard Todd
and Robert Morley, in England January
15. This will be directed by Sidney J. Furie,
who directed Gala’s “During One Night,”
which will be distributed in the U.S. and
Canada by Astor Pictures. Gala will make
two additional features during 1962 with
the western hemisphere rights to be han-
dled by Gordon Films.

Among the pictures acquired by Gala for
British distribution in 1962 are “Les Liaisons
Dangereuses,” being distributed by Astor
in the U.S., and “Girl in the Window,” an
Italian film. Gala’s current releases for
Columbia include “La Dolce Vita” and “The
Truth,” being handled in the U.S. by
Astor and Kingsley, respectively. Gala also
released “Two Women” and “Mein Kampf”
in England.

In addition to production and distribu-
tion in England, Gala also operates Eng-
land’s only national chain of art houses,
seven of these in London, Rive said.

Sam Boverman Joins
WB Legal Department

NEW YORK — Sam Boverman, attorney
who represented the motion picture indus-
try before the U.S. Renegotiation Board in
Washington after World War II, has joined
Warner Bros, legal department.

Boverman, formerly general counsel and
secretary of Cinerama, Inc., had also been
associated with Paramount Pictures for
more than 25 years. In 1954, Boverman
went to the Paris ad interim committee
meeting of the Universal Copyright Con-
vention as the representative of the film
industry.

Lou Steisel Will Join
Embassy Sales Staff

NEW YORK — Lou Steisel has resigned
as a New York branch salesman for Co-
lumbia Pictures and will join Embassy Pic-
tures home office sales staff January 22,
according to Leonard Lightstone, interna-
tional sales director.

Steisel had been with Columbia Pictures
for 25 years, the last 11 in the New York
branch.

Jennifer Jones Will Fly
To 'Tender' Premiere

NEW YORK — Jennifer Jones, star of
“Tender Is the Night,” and her husband,
David O. Selznick, will charter a special
plane to bring them and a group of Holly-
wood notables to New York for the world
premiere of the picture at the Paramount
Theatre January 18. The opening will bene-
fit Medico, Inc., the non-profit organiza-
tion that brings medical care to under-
privileged areas of the world.

BOXOFFICE :: January 15, 1962

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AIP SHOWS REMARKABLE ADVANCE IN 7 YEARS

Impressive Accomplishments Mark Occasion of the Company's Seventh Anniversary

Permanence in the motion picture in-
dustry is a rare phenomenon, while Holly-
wood's many fly-by-night, hei'e-today-
gone-tomorrow “successes” are legend.
Genuine lasting success must be measured
at the boxoffice over many years, with a
necessary accompanying accumulation of
prestige, progress and continued accom-
plishment.

Amply fulfilling these difficult-to-at-
tain standards is the industry’s youngest
big production and distribution giant —
American International Pictures. What’s
more, AIP now has just added an impres-
sive symbol of permanence to its equally
impressive accomplishments of little more
than seven years — a brand-new, com-
pany-built and owned home office build-
ing in the heart of Hollywood at 7165
Sunset Blvd.

RISE IS METEORIC

“Remarkable” is the word widely used
in the industry to describe AIP’s meteoric
rise to a top-ranking production and dis-
tribution organization, an opinion fully
supported at the boxoffice all over the
nation. It still is hard for show business
veterans to realize that less than eight
years ago, American International Pic-
tures was little more than a gleam in the
eyes and minds of James H. Nicholson
and Samuel Z. Arkoff, co-owners and
founders of the company.

Coincident with the opening and occu-
pation of its new home office building,
AIP also is the proud producer and dis-
tributor of one of 1961’s top film hits and
grossers, the biggest in its own history,
“The Pit and the Pendulum.” The Edgar
Allan Poe terror classic, which has been
smashing boxoffice records everywhere, is
but one of AIP’s current “blockbuster”
releases which have meant a welcome
source of income to theatre owners in
every state.

For, it was with the objective of pro-
viding added income for the theatre owner
that American International Pictures was
conceived by the Messrs. Nicholson and
Arkoff in 1954. They determined to pro-
duce or acquire marketable entertainment
product for exhibitors which would prove
its worth at the all-important boxoffice.

ABUNDANCE OF IDEAS

With this dedication, plus an abundance
of ideas and experience, AIP’s founders
started American Releasing Corp. to re-
lease selected product through selected
distributors. They made a deal with Roger
Corman, who is still one of the production
and directorial mainstays of AIP, for his
“The Fast and the Furious” and its suc-
cess set a pattern which still influences
the company.

From that slim beginning catalog of
one release, AIP has steadily developed
into a major supplier of saleable quality
productions both in America and abroad.
Using the simple thesis that product is
for profit — for maker, distributor and ex-
hibitor — AIP has expanded quality-wise
and quantity-wise, culminating in its cur-

$11 Million Budget for '62

With a budget of $11,000,000 pro-
vided for the making of 13 feature pro-
ductions, five of which already are
completed, American International Pic-
tures is proceeding to make 1962 its
biggest year. Further indication of the
company’s plans to upgrade its at-
tractions to “blockbuster” stature is
the announcement that AIP’s product
will feature such stars as Ray Milland,
Hazel Court, Janet Blair, Frankie Ava-
lon, Jean Hagen, Peter Wyngarde,
Vincent Price, Basil Rathbone, Peter
Lorre, Jack Palance, Debra Paget and
Heather Angel, among others.

rent policy of supplying a “Blockbuster
of the Month” to exhibitors.

The boxoffice records of close to 100
AIP releases give eloquent testimony to
the know-how and showmanship of Messrs.
Nicholson and Arkoff — and to their aware-
ness of what audiences will buy. From the
company’s very first days, they have kept
in close and constant touch with the
theatre “grass roots” of America, with
both exhibitors and ticket-buyers, through
periodic and extensive personal trips to
every part of the nation.

They initially chose to specialize in
science-fiction, horror and teenage films,
the result of a shrewd estimate of the na-
tional motion picture market which they
discovered was concentrated on the 12 to
24 age group. They found and reasoned
that today’s youth, in its anxiety to keep
moving, wants action, lots of excitement,
and kicks and thrills aplenty for its enter-
tainment fare.

TOTAL SELLING CONCEPT

The result was the innovation of the
AIP program package of compatible, simi-
larly-themed double bills with provocative
titles specifically designed for that 12-24
year-old market. Giving these packages
the big push that paid off handsomely at
the boxoffice was another AIP specialty
— an integrated promotion-exploitation
plan based on coordination of title, idea
and advertising.

Behind this total selling concept, today
as well as in AIP’s first days, was the
basic Nicholson-Arkoff principle of “built-
in showmanship” for every motion picture,
coupling promotion values with production.
Accordingly, every planned AIP release
must first be put to the test of having to
answer the question: “Can It Be Sold?”

If the answer is negative or doubtful,
though every other aspect of the produc-
tion be favorable, the idea is abandoned.
The success of this approach of integrated
promotion-production is amply proven by
AIP’s proud boxoffice batting average —
over .750.

It all adds up to the fact that the suc-
cess of AIP and its remarkable growth is
no accident. It is the result of careful
planning and thinking by men who know

every phase of motion pictures from in-
ception of idea to the boxoffice, and who
have confidence in the industry and its
future.

President James H. Nicholson’s owr.
career tells some of the secrets of this
success. He started as an usher, worked
as a projectionist, as a writer, as a publi-
cist and became a successful exhibitor. He
knows, as do few executives in the indus-
try, the problems and secrets of making
and selling motion pictures at every level.
Moreover, he has kept his concepts from
growing stale by keeping in constant and
direct touch with every phase of the in-
dustry, both in Hollywood and in every
corner of the nation.

Co-topper executive vice-president Sam-
uel Z. Arkoff brings to AIP an extensive
production business background as a con-
sultant and attorney to make for a potent
company team. Dissatisfied through his
own experiences with conventional ap-
proaches to production, he soon arrived
at the same philosophy of filmmaking and
marketing as Nicholson.

UNIQUE MANAGEMENT TEAM

When the two men met as business
acquaintances, they discovered their mu-
tual concepts and became fast friends and
later partners in the creation of American
International Pictures. This harmony and
mutuality of ideas persist to this day to
make a unique management team which
has made a success in a highly competi-
tive and often hard-pressed industry.

AIP’s continued concentration on the
means of selling a picture and its con-
cern for the problems of the exhibitor is
reflected in the tens of thousands of miles
of travel rolled up each year by both
Nicholson and Arkoff.

During the last two years, this travel
has been further extended to include for-
eign lands for the dual purpose of seeking
new product and to check foreign distri-
bution of AIP releases. Less than three
years old, the foreign department now ac-
counts for over 40 per cent of the com-
pany’s gross — another tribute to AIP’s
basic policies.

Executor of AIP’s sales operations, and
working hand-in-hand with Nicholson and
Arkoff, is Leon P. Blender, vice-president
in charge of sales. He keeps in direct com-
munication with distributors and exhibi-
tors via direct phone calls and extended
trips on the road for better exhibitor
relations and contacts.

ANOTHER VITAL COG

Another vital cog in the well-oiled AIP
team is the advertising, promotion and
public relations department under the di-
rection of Milton I. Moritz. Moritz is a
well-seasoned veteran in the field, with
the necessary personal exhibitor-theatre
operation experience which enables AIP’s
campaigns to do the kind of selling job
that pays off at the boxoffice.

All of this adds up to one of the safest
advance predictions in the motion picture
industry — there are bigger and better times,
ahead for AIP and its exhibitor customers^

BOXOFFICE :: January 15, 1962

15 -

CANDID SCENES OF EXECUTIVES AND PERSONNEL AT WORK IN THE

James H. Nicholson, President

Executive Secretaries
Marilyn Walter and Marge Carr

David J. Melamed, Vice-President Finance

Samuel Z. Arkoff, Executive Vice-President

Milton I. Moritz, Natl Director
of Advertising and Publicity

Legal Department

Mail Room

Leon P. Blender, Vice-President Sales

A1 Simms, Director of Personnel and Music

MEW AMERICAN INTERNATIONAL PICTURES HOME OFFICE BUILDING

(1-r) Laurette Odney, Assistant Film Editor Lou Rusoff, Vice-President in

and Anthony Csirras, Supervising Film Editor Charge of Production

(1-r) Mickey Zide, Assistant Sales Mgr.;
ne Ramos ; Bob Levinson, Print Controller

Sales Department

Chris Holmes,
Assistant Film Editor

Department Head Conference: (1-r) Donald E. Leon, Leon P. Blender, Milton I. Moritz, Lou Rusoff, A1 Simms, Mickey Zide,
David J. Melamed. Seated: James H. Nicholson. Out of the picture because he was talking long distance to Rome, Samuel Z. Arkoff.

“POE S TALES OF TERROR”
Vincent Price, Peter Lorre and Basil Rath-
bone, experts of the macabre, are teamed
for the first time in this Edgar Allan Poe
trilogy. Filmed in Panavision and color.

AIP LAUNCHES

Top Name Casts Added to

The most ambitious release schedule in
its history, sparked by the biggest col-
lection of top-name stars ever featured in
American International Pictures’ product,
has been set by AIP toppers James H.
Nicholson and Samuel Z. Arkoff to guar-
antee that 1962 will be the seven-year-old
company's most successful year.

Maintaining its proven success formula
of offering only sure-fire exploitation
product, with added top cast names, com-
bined color and widescreen and other high
quality production values, Nicholson and
Arkoff say. AIP’s offerings for 1962 “repre-
sent a veritable goldmine of boxoffice op-
portunity for exhibitors.”

Topping the list and designed to pro-
vide an early 1962 smash hit in the tra-
dition of “The Pit and the Pendulum” is
an impressive filmization of Edgar Allan
Poe's terrifying “Premature Burial.” The
star cast is headed by Ray Milland, Hazel
Court and Heather Angel, with Poe special-
ist Roger Corman producing and directing.

Another exploitation natural will be the
exciting action-adventure thriller, “Pris-
oner of the Iron Mask.” This color and
scope spectacle, with its unusual iron mask
torture device and many scenes of battle
and duels, is expected to duplicate the suc-
cess of “Goliath and the Barbarians” and
other AIP spectacle films.

“BURN, WITCH, BURN”

Peter Wyngarde fights for knife held by
Janet Blair in an exciting moment from
this tale of modern witchcraft. Margaret
Johnston also is starred.

“PREMATURE BURIAL”

Hazel Court comforts husband Ray Milland
in this scene from another Edgar Allan
Poe story. Also starred are Heather Angel
and Richard Ney.

“PRISONER OF THE IRON MASK”
Depicting the most evil torture ever de-
vised, this spectacle stars Michel Lemoine
and Wandis Guida. It was filmed in scope
and color.

ITS MOST AMBITIOUS SCHEDULE

American International s Success Formula' Output for 1962

Something really different in AIP’s em-
inently successful and popular witch-horror
catalog is the provocatively titled “Burn,
Witch, Burn.” Popular Janet Blair stars,
with British film favorite Peter Wyngarde
in what the AIP toppers say may be the
surprise hit of the year. The key to what
is in store for moviegoers in this modern-
day tale of witchcraft and terror is that
the producers are Julian Wintle and Leslie
Parkyn, the same pair who made “Circus
of Horrors” and “Tiger Bay.”

Another hit-potential blockbuster, en-
tirely new in concept from anything pre-
viously offered, not only from AIP but
from any other producer, is titled “Sur-
vival” and stars, with casting still incom-
plete, Ray Milland, Frankie Avalon and
Jean Hagen. This is a realistic and topical
action melodrama based on fact, not
science-fiction, showing what can happen
to an average American family in the wake
of the savage human conflicts unleashed
by an atomic war.

The realism of World War II is cap-
tured dramatically in AIP’s “Warriors
Five,” filmed overseas where the events
actually happened. Jack Palance stars in
this tale of an American GI who organized
and spurred the effective underground re-
sistance movement that toppled the Nazis
from power in Italy.

“GUNS OF THE BLACK WITCH”
Don Megowan (r) helps his pirate crew
during exciting battle sequence in this sea
adventure spectacle. Silvana Pampanini
and Emma Danieli are the feminine leads.

Set for early summer release is “Poe’s
Tales of Terror.” This is called a triple-
threat blockbuster since it features three
big stars, Vincent Price, Peter Lorre and
Basil Rathbone, and three big and different
Edgar Allan Poe terror stories. Behind the
production scenes are the individuals re-
sponsible for “The Pit and the Pendulum”
— producer-director Roger Corman, screen-
play writer Richard Matheson, Academy
A w a r d-w inning cinema-photographer
Floyd Crosby and all the others who have
made AIP’s previous Poe thrillers so suc-
cessful.

Coming along afterward will be other
productions with similar potentialities —
“The Haunted Village,” starring Vincent
Price and produced and directed by Roger
Corman; “End of the World,” another
from the Wintle-Parkyn team; “The Sea-
fighters,” a super war film to be filmed
overseas; “The Man With the X-Ray
Eyes,” a science-fiction film designed to
be unlike any other ever made; “The Mu-
tineers,” an action-packed sea thriller;
"When the Sleeper Wakes,” based on the
famed H. G. Wells novel, and a third Win-
tle-Parkyn production; and, in the dif-
ferent category, an as yet untitled teen-
age musical extravaganza to be filmed in
Palm Springs, Calif.

“JOURNEY TO THE 7TH PLANET”
Spacemen of an expedition to the myste-
rious planet Uranus await unknown dan-
gers. This science-fiction film stars John
Agar, Greta Thyssen and Carl Ottosen.

BOXOFFICE January 15, 1962

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produced by FRANCESCO THELLUNG • directed by FRANCESCO DE FEO • in COLOR and

EDGAR ALLAN POE’S

Premature Burial

in COLOR and PANAVISION *

-STARRING

RAY MILLAND

HAZEL COURT

RICHARD NEY • HEATHER ANGEL

PRODUCED AND DIRECTED BY

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science fiction film of 1962!

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LEADING THEATREMEN IN SALUTE TO AIP

Laud Growth in Stature of Its Product and Built-In' Merchandising Ideas

We are more than happy to congratulate
American International Pictures on its
Seventh Anniversary as a producer-
distributor.

We have followed the progress made by
James Nicholson, Sam Arkoff and Leon
Blender in their skillful handling of the
helm of this comparative newcomer, and
we admire them very much. Starting in a
very modest way, they showed a phenom-
enal knack of keeping their respective
fingers on the pulse of our theatre-going
public, producing, in the beginning, very
low-cost pictures which did very well at
the boxoffice. Not content with this status,
they have been improving the quality of
their product slowly but surely until we
now look forward with great anticipation
to their annual releasing program. As a
matter of fact, we have accorded American
International Pictures a place with all the
other distributors in our Release Schedule
which we publish periodically in the inter-
est of an Orderly Distribution of Quality
Product.

We are, therefore, very pleased to take
part in saluting AIP on the occasion of its
Seventh Anniversary and we wish to con-
gratulate and commend this company on
its progress and service to the industry.

EDWARD L. HYMAN

Vice-President
American Broadcasting-

Paramount Theatres
New York, N.Y.

I want to add my congratulations to
James Nicholson, Sam Arkoff and Leon
Blender who are celebrating their seventh
year as a producer-distributor organiza-
tion.

We at RKO have watched with interest
the growth of this company to a major
status. We have shown American Interna-
tional product in our theatres from the
inception of the company and over the
years their attractions have grown in
stature. They manage to build excellent
merchandising ideas into every picture —
ideas which an exhibitor can use for good
boxoffice results.

So — to Jimmy, Sam and Leon, the best
of good luck for your Seventh Anniversary.
May it be the best one yet.

HARRY MANDEL

President
RKO Theatres
New York, N.Y.

Congratulations to our friends, Jim
Nicholson, Sam Arkoff and Leon Blender
and associates on your Seventh Anniver-
sary. The great progress you have made
these last few years is an inspiration to
the entire industry. We look forward to
your continued success and doing more
business with you.

JOHN MURPHY
Executive Vice-President
Loew’s Theatres, Inc.

New York, N. Y.

I want to commend American Interna-
tional Pictures on their progress and
service to the industry. If one can but
remember the tough years that AIP went
through before they became an integral
part of this business, one has to offer
them, not only congratulations, but ex-
pressions of admiration.

Because of their fortitude and guts, they
have become an important source of supply
for our theatres. I wish we had more
sources of supply like them to support our
operation. They have, within their limits,
filled the gap and void left by the curtail-
ment of pictures by the majors.

To Jimmy Nicholson, Sam Arkoff and
Leon Blender I wish to express the heart-
felt thanks of our company.

SALAH M. HASSANEIN

President

Skouras Theatres Corp.

New York, N. Y.

All exhibition is thrilled with the in-
genuity, courage and resourcefulness of
James Nicholson and Sam Arkoff in the
progress of American International Pic-
tures during a short span of seven years.
Against all adversity and great transitions
in the motion picture industry, they have
gx-eatly aided exhibition by supplying us
with good boxoffice attractions for our
theatres. May I express my sincere ap-
preciation and assure their capable sales
manager, Leon Blender, of my all-out co-
operation.

GEORGE KERASOTES

President

Kerasotes Theatres
Springfield, 111.

It gives me great pleasure to congratu-
late American International Pictures on
its progress and service to the industry
throughout its seven years of existence.

Messrs. Nicholson, Arkoff and Blender
have been personal friends of mine for
many years. I have always been impressed
with their ability, initiative and confidence
in the future of our industry.

In my opinion, AIP has performed a
great service to all of the exhibitors on a
worldwide basis. They have done much to
fill the void created by the lesser numbers
of pictures produced and released by the
major production companies. They have
produced product with imagination and
strong exploitation value that has brought
into the theatres that vast segment of
young audiences that are so vital to the
support of our business. Their thinking
is youthful, progressive and has done much
to stimulate all phases of our industry.
They deserve the support of every exhibi-
tor because they are helping to preserve
our great industry.

FRED STEIN

President

Fred Stein Enterprises
Los Angeles, Calif.

We are happy to applaud the Seventh
Anniversary of American International
Pictures — James Nicholson, Sam Arkoff
and Leon Blender. We hope that 1962 will
be AIP’s most profitable and progressive
year and we will be pleased to do all possi-
ble to make that wish come true.

JOHN Q. ADAMS
Executive Vice-President
Interstate Circuit, Inc.

Texas Consolidated Theatres,

Dallas, Texas.

My heartiest congratulations to James
Nicholson, Sam Arkoff and Leon Blender,
heads of American International Pictures,
on the company’s seventh year as a pro-
ducer and distributor.

AIP has made a most sizable contribu-
tion to the product voids with many profit-
able pictures. They have continued to up-
grade the quality and production values
of each picture with the result that we
are today enjoying very substantial grosses
on “The Pit and the Pendulum” along with
many others.

Again, I say, congratulations Jimmy,
Sam and Leon. Keep up the good work.

RICHARD H. OREAR

President

Commonwealth Theatres, Inc.

Kansas City, Mo.

Words can never express my sincere
appreciation for the tremendous contribu-
tion American International has made to
my theatres and to the entire motion pic-
ture industry.

Not only have you solved many a book-
ing problem, but I am happy to say that
we have never played an AIP attraction
which did not prove profitable to our
theatres.

My heartiest congratulations and thanks
to Jim Nicholson, Sam Arkoff and Leon
Blender for your realistic approach and
for the wonderful cooperation I have en-
joyed since the inception of the company.

A very special salute to Milt Moritz and
A1 Kallis for your truly fantastic ad cam-
paigns.

CHARLIE MACDONALD

President

Charles MacDonald Theatres
York, Pa.

I am happy to salute AIP on its seventh
birthday for its initiative, its courage and
its inspiring efforts to increase its share of
American feature production.

With its aggressive leadership deter-
mined to forge ahead in service to our in-
dustry, I look to continued progress by this
young and dynamic company.

HARRY M. KALMINE
Vice-President and General Manager,
Stanley Warner Theatres,

New York, N. Y.

BOXOFFICE : : January 15, 1962

" -■ 1 ■■ " " '■■■■- ■ x 1 1 -.-i— ■ -

film and

And WiiUina Ijau Go-ntinue i

George J. Waldman

N. P. "Red" Jacobs

FAVORITE FILMS

GEORGE WALDMAN FILMS

630 Ninth Avenue 505 Pearl Street

NEW YORK, N. Y. BUFFALO, N. Y.

1918 So. Vermont Avenue 255 Hyde Street

LOS ANGELES, CALIF. SAN FRANCISCO, CALIF.

2316 Second Ave.

SEATTLE, WASH.

George Beilan

AMERICAN INTERNATIONAL PICTURES
OF PHILADELPHIA

3 Penn Center Plaza
PHILADELPHIA, PA.

Mrs. Lee L. Goldberg

Franchise Holder

SELMA BLACHSCHLEGER — JAY M. GOLDBERG
REALART PICTURES

1632 Central Parkway 441 No. Illinois Street

CINCINNATI, OHIO INDIANAPOLIS, IND.

Jack Zide

ALLI ED FILM EXCHANGE

1026 Fox Building
DETROIT, MICH.

IMPERIAL PICTURE CO.

2108 Payne Avenue
CLEVBLAND, OHIO

W. M. Richardson

AMERICAN INT'L PICTURES OF ATLANTA

164 Walton Street, N.W.

ATLANTA, GEORGIA

C. L. King

AMERICAN INT'L PICTURES OF JACKSONVILLE

137 Forsythe Street
JACKSONVILLE, FLORIDA

an yarn Pait AcJnieoementi,
Pnaaneid, lan, the fyutune!

Don Grierson

AMERICAN INT'L PICTURES OF TEXAS

2011 Jackson St.

DALLAS, TEXAS

George E. Phillips

REALART PICTURES

3206 Olive Street
ST. LOUIS, MO.

Meyer L. Stern

AMERICAN INTERNATIONAL PICTURES
OF NEBRASKA & IOWA

1508 Davenport Street
OMAHA, NEBR.

Capitol Film Co.

1301 So. Wabash Ave.
CHICAGO, ILL.

Earl Dyson

and

Larry Biechele

AMERICAN INT'L PICTURES OF KANSAS CITY

215 West 18th Street
KANSAS CITY, MO.

Congratulations to

American International Pictures

flow in their Seventh Sensational Year!
DsTRAL FILMS LIMITED is proud to
Distribute A.I.P. in Canada ... always
j] privilege and a pleasure !

TO AMERICAN

INTERNATIONAL

DIPTIIDCC ON ITS SEVENTH
nblullLd ANNIVERSARY

The rooster is glad to be a booster of American International Pictures, now
celebrating its seventh year of seasoned showmanship. It’s a pleasure to crow
about the good fortune of a good friend. We know that your progress and

ROGER CORMAN

CONGRATULATES

American International Pictures

FOR WHOM HE PRODUCED AND DIRECTED

1960

"HOUSE OF USHER"

1961

"THE PIT AND THE PENDULUM”

1962

"PREMATURE BURIAL"
"TALES OF TERROR”

BOXOFFICE :: January 15, 1962

"Nick" and Sam!

HERMAN COHEN PRODUCTIONS, Inc.

650 North Bronson
Hollywood, Calif.

Congratulations

TO JIM NICHOLSON and SAM ARKOFF

and

AMERICAN INTERNATIONAL on

THIS FURTHER GREAT STRIDE

FORWARD.

ANGLO AMALGAMATED FILM DISTRIBUTORS LTD.

LONDON • ENGLAND

BOXOFFICE :: January 15, 1962

AIP TOPPERS SET FORTH POLICIES
THAT SPARKED COMPANY SUCCESS

Optimism and Enthusiasm
As Keys to Progress

By JAMES H. NICHOLSON

We at American International Pictures
believe that it is not immodest of us to
recognize and proclaim to all of the in-
dustry that it has been something of a
special accomplishment for us to build a
successful motion picture production and
distribution company during these past
seven years when almost every major com-
pany has undergone some debilitating crisis
or another, with two of them going out of
business during this time.

Some people have said that we are lucky,
or that we know what the public wants, or
that we are showmen, or that we have some
other special formula. I don’t believe any
of these is entirely true.

MADE ADVANCES SLOWLY

I think the closest answer to our success,
and still one of our greatest assets, is opti-
mism and enthusiasm and large doses of
same. What’s more, this optimism and en-
thusiasm is shared not only by the execu-
tives of AIP, but by everyone connected
with the company.

Another key to our success is that we
have made our advances slowly, carefully
and have not let a few hit pictures go to
our heads. The motion picture industry
graveyard is full of producers, producing
companies and distribution companies
whose biggest disaster was a hit picture
which couldn’t be followed up.

While our advances are calculated to be
slow, we never have lowered our sights nor
have we ever faltered at raising our goals
in successive years. You may notice that
each year more and more big name stars
are cast in our productions, with the big-
gest lineup yet set for our 1962 product.
Needless to say, an increase in production
values and qualities goes hand in hand with
this upward progression.

CREATE DEFINITE IMAGE

This upward course goes along with a
policy of creating a definite image of
American International Pictures in the
minds of both exhibitors and the public.
The image is that of a company which is
trying to make pictures that fill their
needs — business-wise AND entertainment-
wise.

Hand in hand with this concept also is
the image of a company made up of young
people who are enthusiastic, realistic and

JAMES H. NICHOLSON

who make it a point to explore every angle
in picture-making, advertising and exploi-
tation. It is an image of a company and
its personnel who are not isolated in an
ivory tower, who make it their business to
go out of their way to keep in touch with
the grassroots of the American entertain-
ment industry so that they may better re-
spond to its needs.

Our production operation, I believe, re-
flects this awareness and enables us to re-

Eye Commercial Values
In Production Planning

By SAMUEL Z. ARKOFF

American International is gradually
growing out of its diapers. After producing
and distributing more than one hundred
pictures, we recognize that it is composed
of equal parts of hard work and good
fortune.

This is all part of a plan on the part
of all those who make up our company.
This is not to say that every picture is
a success. Far from it.

Creating a film is a group enterprise.
The production of even a so-called in-
expensive picture involves hundreds of
thousands of dollars in production costs,
plus prints, plus advertising, plus distribu-
tion costs. Each production is and must
be a commercial enterprise dependent for
success on the size of the paying audience
it draws today.

People say, “What Is Your Formula?”

spond to the needs of both public and ex-
hibitor in a uniquely efficient manner. We
have set up a streamlined operational pro-
duction system, all the way through dis-
tribution, which enables us to approve a
script, cast, produce, finish and distribute
a quality picture within six months.

Furthermore, we have tried to keep this
image untarnished by keeping good faith
with everyone with whom we do business.
In short, we keep our word and endeavor to
deliver what we promise — that is, no
padded production or title lists.

Along with delivery of quality, saleable
product, we attempt to give our exhibitors
as many sales tools as possible to put over
our product at the boxoffice. Our ex-
ploitation and advertising budgets are not
limited by artificial percentages, but are
dictated entirely by what we believe is
necessary to aSsure boxoffice success.

Our plans are pretty well set for 1962
which shapes up, with our production pro-
gram schedule and the pictures we already
have in the can, as the biggest year in our
history.

We already, too, are looking ahead to
1963 and mean to continue AIP’s upward
trend, in the same slow but sure manner
in that year and the others that will come.

We are in the motion picture industry to
stay and we believe that the motion picture
industry is here to stay AND to prosper.

SAMUEL Z. ARKOFF

We have no formula, as such. The combi-
nation features that we started with are
passe today.

The successful pictures on today’s mar-

BOXOFFICE :: January 15, 1962

ket are slicker, bigger, more sophisticated,
more expensive, and perhaps, in a different
form than yesteryears’ pictures. But their
appeal is basically the same to Mr. and
Mrs. Moviegoer. I trust that we at Amer-
ican International can continue to “read”
the tastes of the public and satisfy their
entertainment appetite.

We have always wanted to make pictures
that make money. Not that we have any-
thing against art (art who) or that we
don’t strive to make competent quality
pictures, but from the beginning, when we
started with few dollars and big aspira-
tions, to now, when our dollars are some-
what more and our aspirations are even
bigger, we have proceeded on the premise
that we are in business to make money.

This does not mean that we discourage
new creators. Far from it. We have spon-
sored and will sponsor more than our share,
but we must rely on sound commercial
judgment. If this labels us as a company
interested in commercial pictures, then let
it be so, and we will try to bear the name
and the gain.

CATER TO THE PUBLIC

To make money means we must give the
public what it wants.

Thus, we start with this premise : Success
in the motion picture business can only
be demonstrated or evidenced by the num-
bers of people who pay to see the picture
today. I might add that, when exhibitors
talk about the product shortage of today,
they are referring to a shortage of pictures
that make money and not to a shortage of
pictures as such.

Ironically, now that we are making
bigger pictures, the producers who ignored
or shunned us in the old combination days
cluster about us.

To hear these saviors speak — if they but
nad the bit in their teeth and could select
the product to be distributed — a great
quantity of high-tone productions would
be available on the market to combat the
so-called product shortage. These saviors
come in all shapes and sizes. One objective
that all have in common is the feeling that,
if given the opportunity, they could do
better. Let them but try on their own,
with our best wishes for success.

BELIEVE IN OWN IDEAS

We of A IP have come this far with our
own ideas, handicapped only by the
problems of getting started, experience and
money.

Now that we are a little bigger and other
producers recognize us, we do not intend to
relinquish the reins and let other producers
bring us ideas which fundamentally violate
our own concepts. We do not intend to
default and become a distribution-produc-
tion-loan-to-producers type of company
which seems so popular these days.

We do intend to go along making bigger
pictures but always adhering to our
original concepts. We are confident this
is a tried and proven course which augurs
well for our future and that of the industry
down through the exhibitors.

Attune to Changing Times
And Public Attitudes

By LEON P. BLENDER

I believe that the secrets of our growth
and success — if they can be called secrets —
bear serious consideration and study from
the rest of the industry to guarantee that
motion pictures continue in their high
position in American life.

Too many of my fellow industry leaders

LEON P. BLENDER

fail to keep pace with changing times and
attitudes which directly affect the status
of motion pictures in America. Keeping
attuned to such changes and how Mr. and
Mrs. America and family are directly af-
fected by them, is the key to our success
and to maintaining motion pictures as our
Number One entertainment medium.

Both exhibitors and producers constantly
set their sights on one common goal — in-
creased attendance. This is the keystone of
the motion picture industry and the means
to success in our industry.

Naturally, our product — which is what
we ax-e “selling” to the public — is directly
involved with this goal. That is why the
producers must make sure that each mo-
tion picture will insure “return” business
for other pictures in addition to attracting
the public to the particular product.

Because of the diversity of our “product”
and the similar diversity of our potential

AIP DEVELOPS UNIQUE

HOLLYWOOD — A unique automation
system which will provide electronic-age
efficiency and economy in distribution, ex-
hibition and promotion of motion pictures
has been devised by American Interna-
tional Pictures and is now being installed.

Electronic computer techniques, com-
bined with “top-secret procedural for-
mulas,” will enable the company to
achieve these goals:

(1) Centralized print control, via a print
inventory system which eliminates over-
ordering, permits maximum print utiliza-
tion, and offers instantaneous location of

audience, we of AIP have concluded that
there is no single, specific formula for in-
creasing overall attendance.

Rather, the formula for a permanent in-
crease lies with more effective qualitative
and quantitative exploitation of each in-
dividual picture according to its inherent
values. This goes hand in hand with
minimum standards for pictures in general.

In other words, each picture demands a
different “selling” approach to make peo-
ple want to go to the theatre to see it.

With this concept, there remains the
essential “selling” job which can success-
fully accomplish our necessary and com-
mon goal — increased attendance.

Accomplishment must be through team-
work, the same kind of teamwork that
brings about a championship baseball or
football team and the individual victories
which produce a sports championship.

In our industry, the team is composed
of the producer, distributor and exhibitor.
The producer lays down the strategy — the
“plays.” The distributor “calls the signals”
and the exhibitor “runs with the ball.”

In motion picture terms, the producer
outlines the exploitation and promotion
campaign which is further detailed by the
distributor, with the local exhibitor carry-
ing out the campaign details. It is on
this local level that the success or failure
of the campaign — the quantity of at-
tendance — lies.

Proof of this formulation may be found
in every successful campaign which is
always the result of proper “follow
through” execution of a specially planned
drive for the picture involved.

Where the local exhibitor has faithfully
and carefully followed the outlines of the
campaign given to him and added his own
ideas tailored to his particular area, the re-
sults inevitably pay off at the boxoffice.
Plainly and simply, there is no other way.
There is no one “gimmick” that will insure
success for every picture and sustain in-
creased attendance.

The “success” method is only carefully
planned and executed teamwork between
all parties involved in a single picture.
Only the broad outline of teamwork and
follow-through remains the same for
subsequent picture campaigns.

So, let’s all pitch in and do our part
to make a championship “Boxoffice” team
in every area. The boxoffice victories will
make the extra effort worth while.

AUTOMATION SYSTEM

every print at all times; (2) a complete
printed, verified and audited financial
statement for every production, available
within hours; (3) instantaneous checking
and auditing of all boxoffice statements;
(4) elimination of branch office bookkeep-
ing; (5) pinpointing exactly where pro-
duct has and has not played, in a matter
of hours; and (6) a scientific and accurate
analysis of all unplayed and unsaturated
markets, providing information which can
lead to substantial savings in advertising-
promotion budgets. Controller John Byers
evolved the system.

BOXOFFICE January 15, 1962

Congratulations

C^on «ra til la tiond —

Sr Si rice rest Thanks

AMERICAN - INTERNATIONAL

Jim and Sam

For Your Truly Wonderful Contribution

☆

to The Theatres of The World

Clta'ilie. Mac^bo-nald

VINCENT PRICE

Charles MacDonald Theatres

York, Pennsylvania

Congratulations

^ onaratulationd

TO THE

AIP

ATP

ORGANIZATION

On Its Seventh Anniversary

On Its 7 th Anniversary

And Best Wishes

For Continuing Success

ROSEMARK-MILLER

KALUS

AND ASSOCIATES, INC.
INSURANCE BROKERS

ADVERTISING

AGENCY

C. Jack Rosemark, C.P.C.U. Bruce R. Miller

SHERMAN OAKS, CALIF.

4944 Van Nuys Blvd., Van Nuys, Calif.

BOXOFFICE :: January 15. 1962

Best of
Good Wishes

from

GILBOY CO. OF L. A.

2093 W. Washington Blvd., Los Angeles

Congratulations ,

AIP!

— O-

WEST P AC PLUMBING

14661 Lanark St., Panorama City, Calif.
Phone: ST 2-9862

C^on a ra tu (ci tion .5

American International!

from

THE GOODMAN ORGANIZATION

Advertising - Public Relations

7165 Sunset Blvd.
Hollywood, Calif.
Phone— OLdfield 6-6200

Best Wishes—

C^onfyratulationd

American

TO OUR FRIENDS

Samuel Z. Arkoff

International

and

Pictures

James H. Nicholson

FOR MANY MORE YEARS

American International Pictures

OF CONTINUING PROGRESS

•

eJiansiq. and <Jlan.ue.if, 4>. fCaten

KATER ENGRAVING CO.

1032 N. Highland Ave. Los Angeles

RYDER SOUND SERVICES, Inc.

LOREN L. RYDER, President
1161 N. Vine St. , Hollywood

BOXOFFICE :: January 15, 1962

NEW THEATRE FOR STANLEY WARNER CORP. — Continuing: its extensive
program of erecting new theatres and modernizing older properties, Stanley War-
ner Corp. this month will break ground for a million-dollar, 1,150-seat first-run
theatre in La Mirada, Los Angeles County, Calif. Pat R. Notaro, west coast zone
manager for Stanley Warner, said the theatre will be the first for the coast to be
designed and equipped to handle all screen presentation processes, including Todd-
AO, Cinerama and Cinemiracle. The theatre will be located in the La Mirada
Shopping Center, at Rosecrans Boulevard and Luitweiler Avenue. All chairs will
he of de luxe loge quality and styling and carpeting will be custom-loomed
especially for the house. Drew Eberson is the architect.

Smerling to Top Post
At National Telefilm

NEW YORK — Sheldon Smerling, who
some months ago withdrew from a move to
gain control of National Theatres & Tele-
vision, has been elected president of Na-
tional Telefilm Associates, Inc. as well as its
chief executive officer. Smerling thus as-
sumes direction of a company which NT&T
acquired, then sold, and in the process of
which lost upwards of $13,000,000.

Two weeks ago, NT&T wiped its slate
clean of the National Telefilm deal with a
complete writeoff of its investment in that
company. The writeoff process gave NT&T
a net loss of $6,900,000 for the fiscal year,
although it had an operating profit of
$837,431.

Smerling’s takeover as chief executive of-
ficer of NT&T followed a management re-
organization after the company sold its
television station WNTA-TV in New York.
He succeeds Leonard Davis who has been
serving as both chairman of the board and
chief executive.

Davis said that NT A, by disposing of the
station, had strengthened its financial
structure and would now be able, under
Smerling’s management, to expand into a
variety of other phases of the entertain-
ment industry. He did not, however, di-
vulge what these expansion plans included.

Prior to his entry into NT&T operations,
Smerling had been executive vice-president
and general manager of Eastern Manage-
ment Corp., a circuit operating indoor and
drive-in theatres in the New Jersey area.

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BALLANTYNE INSTRUMENTS AND ELECTRONICS INC.

A DIVISION OF ABC VENDING CORPORATION
1712 JACKSON ST. OMAHA 2, NEBRASKA

New Company to Handle
India-Produced Films

NEW YORK — Enterprises Combined,
Inc., has been formed here for the dis-
tribution of pictures made in India and
for the representation of Indian studios,
distributors and financial sources in es-
tablishing coproduction deals.

According to Aslam Khan, general man-
ager, the company represents several of
the leading production and distribution or-
ganizations of India and will seek to stimu-
late the marketing in the Western Hemi-
sphere of Indian productions. He said
several features already had been selected
and would be submitted to American dis-
tributors.

Khan said Enterprises Combined was
authorized to enter into production agree-
ments directly with American producers
who required facilities in India and also to
participate in joint production ventures.

Plans to present festivals of Indian
films in New York and Los Angeles are
being formulated, Kahn said.

Kahn has been associated with leading
Indian production and distribution com-
panies and studios and comes from a fam-
ily prominent in the Indian industry.

Niles Studio Is Producing
First Theatrical Feature

CHICAGO — “Two Before Zero,” a fea-
ture described as an interpretation of
communism, will be released later this
year by Fred Niles, president of the Fred
Niles Productions Co. It is Niles’ first fea-
ture-length film for theatrical release. He
has been in commercial and industrial
filmmaking since 1955, and now has branch
studios in Los Angeles and New York.

“Two Before Zero,” Niles said, was
budgeted at $250,000, and is a “drama-
mentary whose subject matter concerns
the growth, exploration and threat of in-
ternational communism as the antithesis
of western freedom and philosophies. It is
not, however, a ‘message’ picture.”

The staff at the Niles studio here culled
scenes from over a million-and-a-half feet
of film footage, much of it rare and classi-
fied, from many sources, including German
and Japanese confiscations, to obtain back-
ground material for the story.

Bruce Henry, screen writer, authored the
“Two Before Zero” script; John Janssen,
screenwriter and American history scholar,
prepared the research data, and Frank
Romolo served as editor.

LET US BUILD YOUR DRIVE-IN!

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TOM GRIFFING

DRIVE-IN THEATRE CONST. CO.

Phone 298-5215 • Box 8325-Station C

ALBUQUERQUE, NEW MEXICO

BOXOFFICE :: January 15, 1962

By WILLIAM HEBERT

Many Top-Bracket Films
On 20th-Fox 1962 Lineup

There is considerable rejoicing at 20th
Century-Fox over its prospects for 1962,
And with good reason. Top executives pre-
dict its biggest year since 1959.

They point to the fact that “Coman-
cheros,” “The Hustler,” and “Second Time
Around” are doing big business around the
country.

An additional flow of product is all in the
top bracket.

“Second Time Around,” starring Debbie
Reynolds and Andy Griffith, is the picture
they will push generally this month.

For February release they have “Tender
Is the Night,” based on the F. Scott Fitz-
gerald novel and starring Jennifer Jones,
Jason Robards jr., Joan Fontaine and addi-
tional top artists, who, backed by the most
lavish production values of any 20th-Fox
film made in 1961, offer multiple reasons
to score high in all areas.

Also in February they will put “The In-
nocents” into general release. Starring
Deborah Kerr and produced by Jack Clay-
ton, it has proved stronger than was first
anticipated in its prerelease engagements in
New York and Los Angeles and, backed by
an exceptionally skillful and intriguing ad-
vertising campaign, should appeal to all
segments of the general audience, whether
their preferences lean toward so-called arty
or off-beat films or just genuine thrillers
that make you move toward the edge of
your seat.

The company’s March release is also a
strong one. “Satan Never Sleeps,” with
William Holden, Clifton Webb and France
Nuyen topping the cast, and a story of ex-
ceptional timeliness with spiritual under-
tones, is regarded as unquestionably certain
to prove its worth at any boxoffice.

For Easter business “State Fair” goes
into release. Starring Pat Boone, Bobby
Darin and Ann-Margret, it is a joyous,
bouncy production with six new numbers
by Richard Rodgers added to the score he
wrote for earlier versions of what has be-
come an ever-popular rendition of amusing
Americana.

Darryl F. Zanuck is shooting at comple-
tion of “The Longest Day,” with a cast of
stars too long to list, for release on D-Day,
June 6. Since it is the story of the Nor-
mandy landing, made on an impressive
scale, nothing could be timelier.

There can be no question that 20th-Fox
has started to roll with product that will
get money, but we have still listed only part
of the big ones which the company will re-
lease in 1962.

To capture the out-of -school audience in
July, there will be Jules Verne’s “Five
Weeks in a Balloon,” produced and di-
rected by Irwin Allen and already rolling
with a great advance exploitation cam-
paign.

The long awaited and widely exploited
“Cleopatra,” with Elizabeth Taylor as the
siren of the Nile will be shooting up to the
first of June, but is planned for release for
the big fall business that usually follows
Labor Day.

In addition, the company has six in pro-

duction also to be released this year.

These include “The Lion,” starring Wil-
liam Holden and Trevor Howard and now
shooting in Africa; “The Inspector,” a
genuinely tense and timely story starring
Stephen Boyd and Dolores Hart and now
shooting in Europe; “Nine Hours to Rama,”
the story of the assassination of Ghandi,
now shooting in India; “Caligari,” being
produced by Robert L. Lippert on the high-
est budget he has yet provided a film; plus
Jerry Wald’s well -chosen “Adventures of a
Young Man,” more or less an autobiog-
raphy of Ernest Hemingway’s youth, with
ten stars topped by Paul Newman, and
“Mr. Hobbs Takes a Vacation,” a well pre-
publicized comedy starring James Stewart
and Maureen O’Hara.

With this lineup, all assured for release
this year, exhibitors need have few
worries that they will have a continuing
flow of diversified, high-grade attractions
from a company obviously determined to
supply exhibitors and the public the kind
of entertainment they want.

Dick Powell and Desi Arnaz
Plan Theatrical Films

Added evidence that successful inde-
pendent television production companies
are eying theatres as an adjunct to their
activities for the living room tube comes
with the announcement that Dick Powell,
president of Four Star Television, plans a
feature, “Born to Glory,” for theatrical
release. The story is by Douglas Morrow,
who won an Academy Award for writing
“The Stratton Story” in 1950.

This comes on the heels of an announce-
ment some time ago that Desi Arnaz had
purchased “The Full House,” to star
Lucille Ball and possibly Fred MacMurray
for Desilu Productions as a theatrical fea-
ture. Latter is the story of the Navy war-
rant officer who was in the news when his
wife died, leaving him with ten children,
and he remarried a widow with eight
children.

The story purchased by Powell deals with

Stars May Follow Sinatra
On Own Publicity Dept.

Frank Sinatra’s decision to establish
his own publicity and promotional de-
partment for his various companies
and activities, which he is now putting
into effect, may encourage other stars
and independent producers of his
stature to do likewise. It is a sig-
nificant break-through on Sinatra’s
part which is bound to prove of valu-
able promotional assistance to exhibi-
tors. This is not to discount the serv-
ices of the studio and releasing com-
pany publicity departments, or the
many fine independent public rela-
tions companies operating in the film
field, but it will provide added tools for
socking across to the public concen-
trated campaigns on films and person-
alities.

a couple who bought a mare for $150, bred
her and produced Carry Back, the three-
year-old colt which won the Kentucky
Derby last May and piled up $900,000 in
purses during the year.

Morrow is writing the screenplay from
his own original and Bob Carroll jr., with
Madelyn Martin, writers of the “I Love
Lucy” TV show, are doing the screenplay
for “The Full House.”

Seven Arts Signs Alain Delon
To Five-Picture Contract

French actor Alain Delon has been
signed to a five-picture pact by Seven Arts
Productions, with “The Adventures of
Marco Polo” to be his initial film under
the new deal.

Raoul Levy will produce the picture in
Spain in association with Seven Arts, and
Christian Jaque will direct.

Delon also has been signed to costar with
Orson Welles in “The King of Paris,”
filmization of the Guy Endore novel.

Castle and Fenady Schedule
Two Films for Production

Independent producers William Castle
and Andrew J. Fenady have revealed titles
of two upcoming features scheduled for
production this year.

Fenady has slated “The Syndicate Exe-
cutioner,” an original story he wrote with
Bernard McEveety, while Castle is prepar-
ing an original comedy, “The Spitting
Image,” on his Columbia slate. Ray Russell
has been set to script the latter.

Gary Crosby Granted Release
From 20th-Fox Contract

With one more film to go on his two-
picture contract with 20th Century-Fox,
Gary Crosby has requested and been given
release from the pact.

The young thespian-singer’s last feature
for the Westwood lot was “Battle of Bloody
Beach,” made last summer by Robert L.
Lippert, costarring Audie Murphy.

Crosby will devote his time to indepen-
dent film production, along with nightclub
tours.

Postpone 'Mousetrap' Filming
While London Play Runs

Producer Edward Small and British
producer-director Victor Saville, who have
owned the film rights to Agatha Christie’s
play, “The Mousetrap,” for a long time,
have postponed filmization of the drama
due to its continuing legitimate run in
London.

The team plans to produce the picture
either in Hollywood or England when de-
cision is reached as to starting date.

Marlene Dietrich Is Signed
As 'Black Fox' Narrator

Marlene Dietrich has been signed to nar-
rate “The Black Fox,” a documentary
about the life of Hitler, written, directed
and produced by Lewis C. Stoumen for
Image Productions, Inc. The actress also
will act as story consultant on the film,
which is set for filming in New York this
week.

BOXOFFICE January 15, 1962

60X0FFICE BAROMETER

Alakazam the Great (AIP)

150

140

150

140

2 oe

135

130

133

Armored Command (AA)

100

125

100

200

130

100

105

Babes in Toyland (BV)

150

175

300

175

300

160

145

300

315

160

150

260

150

275

185

200

175

140

210

Bachelor in Paradise (MGM)

125

220

130

225

250

190

150

225

150

280

160

175

140

175

176

Back Street (U-I)

160

300

225

100

125

190

150

250

190

210

140

120

160

125

161

Battle at Bloody Beach (20th-Fox)

150

110

100

135

125

106

Beyond All Limits (Omcrt)

100

135

100

Blast of Silence (U-I)

135

100

125

102

Blue Hawaii (Para)

180

300

200

110

130

290

130

250

350

300

100

130

145

200

210

221

Breathless (F-A-W)

120

225

100

120

100

150

120

200

132

Errand Boy, The (Para)

140

150

300

110

150

240

120

135

200

120

175

167

Everything's Ducky (Col)

100

125

Ferry to Hong Kong (20th-Fox)

130

100

Flight That Disappeared- The (UA)

100

Flower Drum Song (U-I)

175

200

350

160

225

425

290

200

275

150

180

190

165

160

225

French Mistress, A (F-A-W)

130

110

100

150

100

150

114

Hustler, The (20th-Fox)

170

275

130

185

130

200

100

275

175

180

125

150

120

195

120

150

130

100

159

King of Kings (MGM)

180

275

200

230

200

240

450

395

250

120

195

200

234

Magic Boy (MGM)

100

Most Dangerous Man Alive (Col)

100

Mysterious Island (Col)

125

150

175

115

225

240

300

250

175

176

One, Two, Three (UA)

195

200

250

175

200

250

212

Paris Blues (UA)

130

250

120

215

150

125

200

135

180

135

100

150

130

195

135

125

250

200

163

Pocketful of Miracles (UA)

175

150

230

120

200

150

135

200

120

175

100

175

130

165

150

161

Rocco and His Brothers (Astor)

300

100

220

130

180

151

Roman Spring of Mrs. Stone, The (WB)

175

125

190

100

225

140

100

195

125

153

Second Time Around, The (20th-Fox)

135

150

260

300

190

140

185

120

175

165

Two Women (Embassy)

150

225

105

165

150

500

150

200

100

200

125

195

105

100

140

100

168

Twist Around the Clock (Col)

160

120

115

265

100

125

132

Valley of the Dragons (Col)

100

Warrior Empress, The (Col)

125

100

Watch Your Stem (Magna)

110

160

150

125

100

122

Weekend With Lulu, A (Col)

175

145

100

150

100

124

Wonders of Aladdin, The (MGM)

100

135

100

195

111

World by Night (WB)

100

LOO

130

120

100

150

200

125

100

120

X-15 (UA)

120

105

100

wmmmMmmmmmmmmmmmm

SOTS

TOP HITS

THE WEEK

Individual runs, not an average.
Listings are confined to opening
week figures on new releases only.

1. Second Time Around, The (20th-

Kansas City

2. Flower Drum Song (U-l)

Cleveland

Milwaukee

Indianapolis

3. Babes in Toyland (BV)

Cleveland

Indianapolis

New Haven

Milwaukee

4. Mysterious Island (Col)

Memphis

Milwaukee

5. El Cid (AA)

Chicago

Fox) 6. Twist Around the Clock (Col)

525 Kansas City 265

7. King of Kings (MGM)

Milwaukee 250

8. One, Two, Three (UA)

San Francisco 250

Detroit 200

9. Roman Spring of Mrs. Stone, The (WB)

Kansas City 225

New York 195

10. Errand Boy, The (Para)

Memphis 210

11. Pocketful of Miracles (UA)

Cleveland 200

Indianapolis 200

12. Summer and Smoke (Para)

.275 Chicago 200

.350

.275

.225

.300

.275

.260

.300

.250

Blueprint 'Bachelor Flat' Campaign

'1,2,3' Still Big News
In Minneapolis Run

MINNEAPOLIS — “One, Two, Three” in
its third week at the St. Louis Park The-
atre took the top honors for business with
a rating of 200 per cent. Runnerup was
the duo “Not Tonight, Henry” and “Sap-
phire” at the neighborhood Avalon The-
atre. The only new offering, “Purple Noon”
at the Uptown Theatre, rated 150 per
cent. Most other product rated average or

above.

(Average Is 100)

Academy — King of Kings (MGM), 9th wk 80

Avalon — Not Tonight, Henry (IFD); Sapphire

(U-l), 2nd wk 175

Century — South Seas Adventure (Cinerama),

9th wk., rerun 135

Gopher — Pocketful of Miracles (UA), 3rd wk. 100

Lyric — Bachelor Flat (20th-Fox), 3rd wk 110

Mann — Flower Drum Song (U-l), 3rd wk 140

Orpheum — Babes in Toyland (BV), 3rd wk 110

St. Louis Park — One, Two, Three (UA), 3rd wk. 200
State — The Second Time Around (20th-Fox),

2nd wk 120

Uptown — Purple Noon (Times) 150

World — The Roman Spring of Mrs. Stone

(WB), 2nd wk 120

‘Errand Boy' Ranks High
Among Milwaukee Hits

MILWAUKEE— The entire list of big
holiday releases continued to draw excel-
lent business here. A newcomer, “The Er-
rand Boy,” was strong at the Warner. Top-
quality promotion was given a good deal of
credit for the solid grosses all along the
line.

Downer — Man in the Moon (Trans-Lux) 150

Oriental — The Second Time Around (20th-Fox),

2nd wk 200

Palace — South Seos Adventure (Cinerama),

2nd wk 250

Princess — The Sins of Mona Kent (Astor); The

G'rl in Room 13 (Astor) 150

Riverside — Babes in Toyland (BV), 2nd wk 225

Strand — King of Kings (MGM), 2nd wk 300

Times — Mary Had a Little (UA) 225

Tower — The Second Time Around (20th-Fox),

2nd wk 200

Towne — Flower Drum Song (U-l), 2nd wk 290

Warner — The Errand Boy (Para) 250

Wisconsin — Pocketful of Miracles (UA), 2nd wk. 250

‘Flower Drum Song' Leads
Excellent Omaha Lineup

OMAHA — An excellent bill of fare from
one end of the downtown movie front to
the other offered fans a delightful holiday
choice of movies and they turned out in
force to take advantage. Jack Klingel,
Cooper Foundation Theatres city manager,
reported that “Seven Wonders of the
World,” in its sixth week at the Cooper, had
the best week since “Ben-Hur” played
there. Others all went well over par, with
“Babes in Toyland” more than doubling

average figures in its second week.

Admiral — One, Two, Three (UA) 155

Cooper — Seven Wonders of the World

(Cinerama), sixth wk 200

Dundee — The King and I (20th-Fox), 6th wk. ..175

Omaha — The Errand Boy (Para) 170

Orpheum — Flower Drum Song (U-l) 225

Theatre at Shenandoah
Is Destroyed by Blaze

SHENANDOAH— The Page Theatre was
destroyed by fire Tuesday evening.

Frank Kennedy, manager for Common-
wealth Theatres of Kansas City, said 40
patrons were evacuated without incident.

The below-zero temperature handi-
capped the firefighters.

Frank Tucker, Commonwealth supervisor,
left Kansas City Wednesday morning for
Shenandoah to check the damage. The
State, now closed, probably will be opened
by Commonwealth.

MILWAUKEE — Ben Marcus, head of the
circuit which bears his name, while attend-
ing the Allied Theatres meeting in Miami,
Florida, wired his booker-buyer Joseph
Strother here, Henry Toilette, Neenah,
general manager for the circuit, and Louis
Orlove, Milwaukee-Minneapolis publicity
director for 20th-Fox, to start the ball roll-
ing on “Bachelor Flat.”

Orlove arranged to have a print on hand
for the screening December 26 and all
managers were notified to attend. The
screening was held at the Neenah Theatre,
Neenah, with a general discussion follow-
ing, which brought out a number of work-
able ideas suitable for promotion in various

LINCOLN — The new year looks pretty
good to theatreman Robert Livingston for
at least two reasons:
“The industry has
promised us more
production and that’s
life-giving blood to
the small town movie
man. Then I’m going
to retire this spring
as president of the
Nebraska Theatre
Owners Ass’n after 23
years on the job.”
Several of those
years, Bob also was
secretary for the
Theatre Owners Ass’n of America. He ex-
pects to turn his state job over to a new
president at the association’s spring meet-
ing.

Bob says 1961 was a better year for the
motion picture thearieman in Nebraska
than the immediate preceding years.

“Fewer houses were closed down,” he
explained.

Lack of good productions in sufficient
quantity by the industry has really hit the
small town theatres because they can’t
show one picture all week or longer like the
bigger cities, according to Bob Livingston.

This promise of increased production
brightens up the picture considerably in
his opinion. The past average of 200 or

theatres where the film was to subsequently
appear.

Shown here discussing details, are, seated
left to right : Bud Koppkelberger, city man-
ager, Times-Raulf and drive-in theatres,
Oshkosh; Arne Paavola, city manager, Fox
Theatre, Marinette-Lloyd Theatre, Meno-
monie; Henry Toilette, general manager,
Marcus Theatres, Neenah.

Standing, left to right: Louis W. Orlove,
publicity director, Fox Film; Walter Holt,
Rialto Theatre, Kaukauna; Carl Konrad,
manager, Neenah Theatre, Neenah, and
Brin Theatre, Menasha, and Wayne Berk-
ley, Viking Theatre, Appleton.

Marcus said “Bachelor Flat” was to be
a project picture throughout his circuit.

225 pictures annually isn’t enough, he said.

The veteran theatreman sees the spring-
ing up of smaller theatres in shopping
center areas as another good sign of better
times ahead.

At that, Bob must have seen many ups
and downs in the industry from the stand-
point of exhibitor. He started out in 1907
as owner and operator of a five-cent silent
picture show house in Lincoln.

He and his wife will give some Texas
film houses a Nebraska scrutiny later this
month. They plan to leave here about the
17th to drive to Fort Worth, Dallas and
San Antonio, and on to Phoenix to catch
up with some winter sun. Any show busi-
ness will be incidental, but pleasant, admits
Bob, as it means “seeing friends, too.”

New Tiffany Opening
Soon at Broken Bow

BROKEN BOW, NEB. — A special grand
opening of the Tiffany Theatre is expected
to be held soon, with the possibility the
King and Queen of Ak-Sar-Ben, statewide
Nebraska booster organization, will par-
ticipate.

The Tiffany is located in the old Lyric
building, which has been closed several
years. The theatre was built and is owned
by the IOOF lodge and was leased by the
Kennedy family until 1959.

Promise of More Films Enthuses
Retiring Head of Nebraska TO A

Bob Livingston

BOXOFFICE :: January 15, 1962

NC-1

LINCOLN

J^Jerle Gwin, Nebraska Theatre manager,
and his wife had four sons home during
the holiday season. Their eldest, Larry, re-
turned to his studies at Columbia Univer-
sity in New York City . . . Robert Cochrane
was back on the job in the State Theatre
projection booth after a week’s vacation,
spent at home.

Snow, ice and low temperatures were
summed up by this commentary from a
drive-in official, "The weather is killing
us.” The winter elements have made a
long-run record already this season locally
and there's no change in sight . . . Speaking
of long nans, Manager Bert Cheever said
“Babes in Toyland” probably would go on
for a fourth week at the State. He observes
the holiday show is one that draws the
young folks okay but not the adults such
as “Swiss Family Robinson” and “One
Hundred and One Dalmatians” did. “Mys-
terious Island,” next on the State marquee,
will bring a change of pace from the
“Babes.”

“Flower Drum Song,” ending a two-week
run on the 12th at the Stuart, drew hold-
out crowds. The University High School
undoubtedly was well represented in the
teenage audiences. The campus school is
doing this show this spring as its annual
musical, and would-be cast members were
scouting the roles.

What’s in a name or a movie title?
“Lots,” says Jayo neighborhood theatre
owner Clarence Frasier. “We have many
young people coming to our shows if we
have good ones for them. But don’t let
anyone say that parents don’t concern
themselves with what their children see.
Unfortunately, many titles will mislead
mothers and fathers who may not find out
more than that about a movie.” Clarence
cited “The Honeymoon Machine” as an
example of a misleading title. “Parents
kept their children away, although the pic-
ture was given a A-l rating by the Legion
of Decency,” he observed. Clarence has
promised the neighborhood kids a good one
this month, “Babes in Toyland.”

Dean Ziettlow, Cooper Foundation city
manager, goes on vacation January 20 after

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over 15 years. Write today for complete de-
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HOLLYWOOD AMUSEMENT CO. ...
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HERE’S YOUR CHANCE

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spending many weeks out in Colorado this
fall and winter relieving other Cooper the-
atre managers for vacations. Dean is fly-
ing to Tucson and Phoenix where he will
ride and soak up the winter sun for two
weeks. The Cooper city manager’s pre-
Christmas relief job put him in Greeley,
Colo., during the time that the 20 school
children met their death in the bus-train
tragedy. The armory to which the dead
children were brought was next door to the
hotel in which Dean was living. Awakened
by ambulance sirens, the Lincoln theati’e-
man joined the silent onlookers as shocked
parents arrived to find out whether they
had come to the right place or must go on
to the hospital where 14 other school bus
passengers were being treated. “Five
families each lost two children in the
tragedy,” said Dean. It will be a while, too,
before Dean forgets the quiet calm of
Greeley for several days after the accident.

DES MOINES

^ale Goldie has sold the American The-
atre at Cherokee to the Chief Corp.
of the Pioneer chain, effective January 7.
Chief operates the Arrow Theatre at
Cherokee.

Lou Levy came close to getting a new suit
of clothes for Christmas in what turned
out to be quite a gift exchange! Mabel
Magnusson of Universal made a hand-
smocked pillow for the Levys and took it
down to Younkers to be gift wrapped. They
not only wrapped it, but in the rush
swapped packages. Before presenting her
gift to the Levys, Mabel suspected that it
was a little heavy for a pillow and peeked
to find the error. All was finally righted,
and the suit probably was the wrong color,
anyhow . . . Best wishes for a speedy re-
covery to Mabel’s mother who underwent
surgery just before Christmas and is con-
valescing at her home in Minburn.

Margaret Rowson of MGM, Joanne
Miller of Universal and Alice Patton and
Janice Funk, both of Central States are
new WOMPI members . . . The WOMPIs
held a rummage sale, and also report that
their Christmas sale of candy and nuts
was a big success . . . Claude Moore of
Commonwealth Theatres in Kansas City
was in Des Moines . . . Also in, and
grounded because of the Kansas City
storm, was Ben Marcus, Columbia division
manager.

All “practicing farmers” in the Sheldon
area were invited to attend a big John
Deere Day program at the Iowa Theatre in
Sheldon . . . Ray Langfitt of Algona is back
on the job after an illness. Langfitt’s
Cinema Arts series opened with “Ballad of
a Soldier” January 10. The series of seven
foreign films received strong advance sup-
port from the Algona paper . . . Joe Jacobs,
Columbia manager, was ill at his home the
first week of the new year.

Local 171 Elects J. C. Snyder

PITTSBURGH— John C. Snyder was
elected business agent for IATSE Local
171 to succeed James V. Sipe, who an-
nounced his retirement.

Nebraska Popcorn Yield
Record 57 V 2 Million Lbs.

OMAHA — Popcorn chompers at the
movies are assured a lot of luscious mouth-
fuls judging by a report by the United
States Department of Agriculture. Growers
in Nebraska harvested 57,500,000 pounds in
1961, a record high yield on the books of
the state-federal divisions of agriculture.

The current crop is approximately 14 per
cent higher than the previous record high
crop of 50,600,000 pounds produced in
1958. It also is well above the large crop
produced last year of 44,640,000 pounds.

The acreage harvested is 25,000, less than
the record high acreage of 33,000 harvested
in 1945, but it is greater than the 18,600 of
1960.

The yield an acre was estimated at
2,300 pounds, down slightly from 2,400
pounds harvested a year earlier. Reduc-
tion in the yield was caused mainly by ad-
verse conditions in November. Field losses
were heavy, particularly in the southeast
part of the state due to root worm.

The 1961 production in the 17 com-
mercial producing states is estimated at
480,000,000 pounds of ear corn, 43 per
cent more than the 339,000,000 pounds pro-
duced in 1960 and the second largest pro-
duction on l-ecord. The 1961 production is
6 per cent below the record 515,000,000
produced in 1958.

The quality of the 1961 crop was reported
to be generally excellent.

Mike Tracy, Storm Lake,
Dies; Ex-Theatre Owner

STORM LAKE, IOWA— E. M. “Mike”
Tracy, 79, theatre owner, died l’ecently at
his home here. He had been in ill health
for three years. E. M. Tracy operated the
Tracy Theatre and a confectionery here
from 1925 until 1944, when he sold to the
Pioneer Corp. Oldtimers recall that early-
day filmgoers had to enter the Tracy The-
atre through the confectionery store. Prior
to owning the theatre Tracy and W. S.
Skiff presented stage shows at the old
Stoi’m Lake Opera House.

Since the sale of his theatre, Tracy had
been interested in farm management and
had operated a restaurant at Storm Lake.
He was active in community and church
affairs and was a member of the Knights
of Columbus and Elks. He is survived by
three sisters.

Six Minneapolis Theatres
Make 1961 Improvements

MINNEAPOLIS — Equipment in six large
renovation jobs during 1961 was furnished
by Minneapolis Theatre Supply. The
largest of the jobs was the total rebuilding
of the Mann Theatre here, in which MTS
supplied 70/35mm Norelco projectors,
Cinex special lamps, carpets and drapes.

Another complete rebuilding job, the
State, Rapid City, S.D., also received equip-
ment from MTS, including new front,
concession, lobby and 300 new chairs.

In addition, MTS supplied new front,
lobby and redecorating at the Heights,
Minneapolis; new front, lobby, decoration
and 500 new chairs, Wayzata, Wayzata;
new front and lobby, Auditorium, St. Croix,
Wis., and new lobby, floor and decoration
at the Finley, Finley, N.D., which reopened
November 1 with rebuilt projection and
sound.

NC-2

BOXOFFICE :: January 15, 1962

I ASH l

L« liaisons Dangereuses

ROGER VADIM’S UNCUT MASTERPIECE

ASTOR'S GREAT PROMOTION TURNS "LES LIAISONS DANGEREUSES"

INTO THE BIG RECORD BREAKER FOR THE NEW YEAR! FIRST TWO

ENGAGEMENTS:-

|p& | 'M, m g|| I

*■•'*.• NEW YORK: FIRST TWO WEEKS GROSS AT HENRY MILLER'S

I;- ' ( HA RD TICKET) TOPPED SENSATIONAL RECORD OF ASTOR'S

PRIZE- WINNING "LA DOLCE VITA" !

till - .

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. •. ■. %<% sS' K>.

■

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WASH., D„ C. : BROKE ALL-TIME HOUSE RECORD, FIRST DAY,
RANS lux PLAYHOUSE (GRIND), OUT GROSSING "GUI

NAVARONE". BIG LINES WAITING BEFORE BOX OFFICE

OPENED - 2ND DAY EVEN BIGGER!

: :

yt^ikr.:- ; il^' ? 4;KySS®g

"l-es Liaisons Dangereuses” is already booked and scheduled for the following additional situations:
Detroit, Mich., Krim, Jan. 10; Cleveland, Ohio, Colony, Jan.; Pittsburgh, Pa., Squirrel Hill, Jan.;
Boston, Mass., Beacon Hill, Feb.; Miami Beach, Fla., Normandy, Feb.; Miami, Fla., Parkway, Feb.;
Dallas, Tex., Fine Arts, Feb. 14; Austin, Tex. .Texas Thea.,Feb. 14;W.Palm Beach, Fla. .Colony, Feb. 15

ACT QUICKLY BEFORE YOU FIND YOURSELF
WAITING IN LINE FOR A PLAY DATE.

Les liaisons Dain^reusc?

has been launched with a double, extra-
special advertising'and publicity push that has become the trademark
of Astor Pictures — and it’s off to the fastest start of any import to date!

FOR FURTHER INFORMATION, WRITE, WIRE OR PHONE ASTOR PICTURES, OR TALK TO YOUR LOCAL ASTOR REPRESENTATIVE.

625 MADISON AVENUE

, INC. NEW YORK 22, N.Y. . PL 2-7766

MILWAUKEE

Respite last-ditch efforts on the part of
the motion picture industry and of
other organizations, the 3 per cent sales
tax program was passed, and now has be-
come a law in Wisconsin. Theatre admis-
sions are subject to the tax. One provision
of the bill, as we understand it, allows mer-
chants to keep 2 per cent of sales tax
receipts due the state as payment for their
trouble.

In semiretirement now, is Connie Woer-
dehoff, 76, with a 57-year career in the
show business behind him. He was at the
Alhambra Theatre as a stagehand for over
30 years, but confines himself at present
to spotlight man at the Sentinel Sports
Show. He started in New York back in
1899.

Firstnighters packed the New Year’s Eve
premiere of the new 1,400-seat Swan The-
atre, a creation of Ray Boyle, former man-
aging director at the Fred Miller Theatre.
Talk about swank! Color in broad swaths
of opulent rose and royal blue, sumptuous
red carpeting. The restaurant in connec-
tion is open show or no show and featured
one of the longest bars in the city, and
stunning waitresses in half -tuxedos and
long black stockings. The three-quarter
stage is out of the Elizabethan era. The
500 seats in the ballroom proper form a
bowl. Balcony seats are arranged around
tables in what is called the “champagne
horseshoe,” where one can eat, drink and
smoke. Gypsy Rose Lee, starring in “Third
Best Sport,” did a whale of a job at the
opener. Milwaukee’s own Jack Carson will
star in the play to follow, “Make a Mil-
lion.” Admission is $3.50 . . . The Fred
Miller Theatre, according to Miss Joyce

—ORDER YOUR NEXT —

SPECIAL TRAILER

WITH CONFIDENCE FROM

FILMACK

1327 South Wabash Chicago, Illinois

Henry, general manager, lost about $27,000
on the ten-week season of repertory plays.

Publisher Don Anderson, Wisconsin State
Journal, Madison, announced that a page-
one story in which he stated that his paper
would refuse to print motion picture and
theatre advertising that is “salacious and
prurient” has been picked up by scores of
publications throughout the nation, and
mail has been pouring in complimenting
him on his stand.

Joe Reynolds, Towne Theatre manager,
invited to attend a dinner at the Milwaukee
Press Club as guest, in appreciation of that
courtesy invited the press folk to attend a
showing of “Flower Drum Song,” which he
was promoting at the time. George Mof-
fat, Press Club manager, and other of-
ficials expanded the idea by adding a din-
ner before the showing. Reynolds, Russ
Mortenson, general manager of Standard
Theatres, and his wife; Hugo Vogel, Variety
Club executive secretary, and Bill Nichol,
Variety press guy, and his wife were guests
at the dinner. The combination dinner-
theatre party proved so popular that only
a cold, stormy night averted an overflow
Press Club audience at the Towne.

The first regular 1962 meeting of the
Better Films Council was held the 8th at
the Milwaukee Public Library. Judge Christ
Seraphim spoke on “Attitudes and Morals
and the Movies.” Mrs. Ivan J. Haus, pre-
view chairman, released the following
ratings: Family, Excellent — Babes in Toy-
land, A Majority of One. Adults and Young
People, Very Good — Royal Ballet. Good —
I Bombed Pearl Harbor, Then There Were
Three.

Lee Rothman, assistant manager at
station WRIT and first assistant chief
barker of the Variety Club, was chosen by
Stanley Warner officials to represent Mil-
waukee’s radio and television fields at the
world premiere in Hollywood of “A Ma-
jority of One.” A total of 22 radio and TV
personalities from around the nation at-
tended the event. The group was then
taken to a dinner at Romanoffs, and the
following day on a tour of the Warner
studios. Rothman said Hollywood really
gave them the red-carpet treatment.

Many Tahitian themes have been woven
into the “Mutiny of the Bounty” score by
composer Bronislau Kaper.

P/ease

sencf me

□ 2 years for $5 □ 1 year for $3

□ Remittance Enclosed □ Send Invoice

THEATRE

STREET ADDRESS

TOWN ZONE STATE

NAME POSITION

THE NATIONAL FILM WEEKLY S2 issues a year

825 Van Brunt Blvd., Kansas City 24, Mo.

MINNEAPOLIS

January 17 has been selected as the ten-
tative reopening date of the Time The-
atre at Rochester, which Jim Fraser of Red
Wing now will operate. New wide-width
seating has been installed by Minneapolis
Theatre Supply, and the house has been
redecorated and re-equipped. Fraser, who
also operates the Auditorium Theatre at
Red Wing, took over the lease on the the-
atre from the Mayo interests in Rochester.
The house previously was operated by
Minnesota Amusement Co.

Harry Hollander, Columbia exploiteer,
was in for “Sail a Crooked Ship” and
“Twist Around the Clock” . . . Outstate ex-
hibitors on the Row included R. G. Mul-
len, Cambridge; Arvid Olson, Pine Island;
Doc Reynolds, Princeton; Jim Skeim,
Crosby; A1 Fritz, Watertown, S. D.; Mrs.
Wilbur Koehren, Arlington, and Chick
Everhart, Walker . . . Kathleen Fredenburg
is the new booker’s stenographer at 20th-
Fox, replacing Sally Peterson, who re-
signed.

John O’Rourke, office manager and head
booker at United Artists, is on the mend at
home after undergoing surgery . . . Frankie
Avalon was due in town Sunday (14) in
behalf of “Sail a Crooked Ship” . . . Rita
Moreno may come to this city for the
opening of “West Side Story,” scheduled
for February 8 .

Dahlstrom & Weinberger has redecorated
completely the Morris Theatre at Morris.
The interior was covered by an oily smoke
when the heating system backed up . . .
Mitzi Gaynor will be the star of the St.
Paul Winter Carnival Show January 26 to
February 5. The show will come to St.
Paul from the Flamingo Hotel in Las Vegas
... A complete renovation has been
finished at the neighborhood El Lago The-
atre. The inside of the foyer was paneled
and doors were installed at the head of the
aisles. Previously there had been no doors
there. The interior was redecorated and
the outside trim will be painted, including
the canopy. The El Largo is operated by
Henry Greene.

New Ordinance on Signs
Urged in Minneapolis

MINNEAPOLIS — A new sign ordinance
designed to assure “esthetic values” in the
downtown area was recommended by the
city council ordinances and legislation
committee. The proposal prohibits flashing
advertising signs, projections of more than
15 inches from building walls and sign
heights of more than 35 feet above parapet
walls. Existing signs would not be affected
by the ordinance.

The ordinance also calls for improved
sign structures and their maintenance.

Business signs would be limited to no
lettering other than the name and kind of
business, some company slogans, date of
establishment and the street number. Roof
signs would not be permitted to project
beyond walls. They would have to be built
six feet above the roof, but not more than
35 feet higher than parapet walls.

The proposal also specifies the size of
marquee and canopy identification signs,
but excludes the marquee type structure
from projection limitations.

NC-4

BOXOFFICE :: January 15, 1962

ADLINES & EXPLOITIPS
ALPHABETICAL INDEX
EXHIBITOR HAS HIS SAY
FEATURE RELEASE CHART
FEATURE REVIEW DIGEST
SHORTS RELEASE CHARI
SHORT SUBJECT REVIEWS
REVIEWS OF FEATURES
SHOWMANDISING IDEAS

THE GUIDE TO | BETTER BOOKING AND B U S I N E S S - B U I L D I N C

Radio Deejays Stage
'Bachelor' Contest

The Penn Theatre in Pittsburgh reports
that the local Hires root beer distributor
displayed giant posters on his entire fleet
of delivery vehicles in advance of “Bachelor
in Paradise,” and distributed 100 cases of
Hires on opening day. The sales manager
pm-chased 1,000 tickets and gave them to
food store representatives as a goodwill
gesture.

One of the top radio stations in Pitts-
burgh ( KQV ) arranged a promotion around
the “Bachelor in Paradise” title. The four
bachelors on the KQV disk jockey staff
invited their listeners to vote for them as
Pittsburgh’s most eligible bachelor. The
winning disk jockey escorted the fortun-
ate lass during an evening on the town.

In Minneapolis at the Lyric Theatre,
150 Brunswick Corp. bowling establish-
ments invited bowlers to register for prizes
that included $100 in cash and a Bruns-
wick bowling ball and carrying case. Win-
ners drawn from the more than 100,000 en-
) tries appeared on Brunswick’s weekly tele-
vised bowling show'. The Webcor Corp. has
been promoting “Bachelor in Paradise”
by means of large newspaper, radio and
TV advertising campaign. Webcor devel-
oped a contest, with the winners receiving
a Webcor tape recorder on opening night.
A recorder also was placed in the theatre
to record the laughs, which were piped out
into the street.

Vinyl Babes Rugs Good
For Tieups on Toyland'

A very good idea for a “Babes in Toy-
land” campaign has been sent to the
Schine circuit exploitation office in
Gloversville, N.Y., by Lou Hart in Auburn
and Herb Brown in Syracuse, both in New
York state.

They made tieups with their local Con-
goleum-Naim vinyl rug dealers in which
the dealer offers free tickets to purchasers
of “Babes” mgs. The dealer buys gift books
from the theatre and uses the cooperative
ads listed in the pressbook. To each per-
son buying a 9x12 “Babes” pattern mg, the
dealer offers enough coupons for up to two
adults and two children.

Hart was able to sell a special kid show
to the Sears, Roebuck store for the morn-
ing of December 23. This is a cartoon
show, and all the kids have to do is to bring
^ their parents to Sear’s “Babes in Toy-
^ r land” to pick up their free tickets.

Unquestionably, Manager Hart and his
staff are to be congratulated for consum-
mating this deal, not only from the stand-
point of a rental, but also for all the sup-
plementary advertising and publicity.

Adjacent First Runs Double Their
Grosses With Dee jay Marathon

Beauty and jumping youth, brawn big
and fast from the football field, jumping
and rolling jazz — all went out via radio
from the lobbies of two next-door theatres
24 hours a day for approximately four days
in a unique disc jockey marathon at Austin,
Tex.

The promotion involved the Paramount
and State theatres. Interstate circuit
houses, the top situations in the city, which
uniquely are situated next door to each

Deejay Bill Noble interviews three of the Ten Most
Beautiful finalists at his broadcasting booth in the
lobby.

other. The management, says Norman
Brady, Interstate publicity director in
Austin, tries on occasion to capitalize on
proximity of the two theatres. With the
Disc Jockey Marathon, Brady says, “we
feel that we came up with a merchandising
gimmick worthy of attention.” He relates:

“First, we contacted station KNOW, our
Top 40 station, and with their representa-
tive devised a plan for a competitive mara-
thon between two disc jockeys, one spin-
ning his platters and chatter from the
Paramount lobby and the one in the lobby
of the State next door. The idea was for
the two deejays to broadcast continuously
24 hours a day until one of them dropped
from exhaustion.

“Figuring that an exploitation of this
nature would appeal particularly to teen-
agers and young adults we arranged with
our Dallas office to book Elvis Presley’s
‘Blue Hawaii’ in the Paramount, and Troy
Donahue and Connie Stevens in ‘Susan
Slade’ in the State day and date.

“We kicked the thing off on Thursday
noon and had something going on until the

deejays called a truce at 2:30 Sunday
morning. It was like a three-ring circus,
with guests, interviews, contests, handout
gifts, etc., day and night.”

The Interstate showmen and KNOW
workers took full advantage of top national
ranking given the Longhorns, football team
of the University of Texas at Austin, and
a recent Miss Austin beauty contest.

The deejays had members of the Texas
football squad in for interviews. One,
James Saxton, All-American halfback, even
served at the popcorn stand for a half hour
or so. Winners in the Ten Most Beautiful
Miss Austin contest were interviewed by
deejays Buzz Long and Bill Noble. KNOW
announcers helped out from the lobbies of
the two theatres.

A football signed by the Texas team was
auctioned off for $275, with proceeds going
to the United Fund.

Dr. Charles Bailey, personal physician
for Lyndon Johnson, vice-president,
checked over the competing deejays.

On Saturday night during the marathon
a Twist Contest was held in the middle of
Congress avenue in front of the theatres.
The crowd was estimated at 3,500.

The marquees of both theatres remained
lighted 24 hours a day during the event.

Local teenagers signed a giant Christmas
card to Elvis, which was incorporated as
part of the Paramount front.

“Without a question this marathon
doubled our expected boxoffice gross based
on past experiences with pictures of this
type and star value,” Brady concluded.
“We think that this idea has merit for any-
one who wants to try it.”

Backs, Jerry Lucas and Tommy Cook, and Don Tal-
bert, lineman, all of the high-rated Texas U. team,
the latter an All-Southwest Conference choice, are
interviewed by Jim Gregg, news announcer.

BOXOFFICE Showmcmdiser :: Jan. 15, 1962

— 9 —

Pony Cart Ricksha
Subs for the 'Bridge'

Schoolgirl
Does Mural in
Chalk
For Lobby
Display

An effective idea to promote interest
among the teenage crowd comes from
Earl Nansel, manager of the Broadway
Theatre in Council Bluffs, Iowa. It in-
volves little expense and effort. Nansel
made use of the stunt on “Blue Hawaii.”
First is the selection of a high school
girl or boy with a talent for art work, in
this particular case, chalk drawing. The
selection can be left to the art class
teacher or teachers, or some kind of
contest can be arranged to pick out the
most artistically gifted student. The
boy or girl selected then is given the
task to recreate a scene in keeping with

the theme of the picture for use with a
lobby display.

The results at the Broadway Theatre
are shown herewith. The background
chalk drawing of the Hawaiian Diamond
Head scene was by Marie Gordon of the
Council Bluffs High School. The palm
trees were borrowed from local mer-
chants.

The home -talent work became the
subject of conversation at the high
school, along with “Blue Hawaii.”

Nansel also distributed leis, which are
inexpensive, on opening night.

The Broadway is first run.

Secrets of Beauty Tiein Easy for Women'

When Charles Stokes, manager of the
Bar Harbour Theatre in Massapequa Park
on Long Island, started planning his cam-
paign for “Secrets of Women,” all the
female makeup paraphernalia came to
mind, the so-called beauty secrets of
women ! This suggested the fact that
Helena Rubenstein, Inc., with its advertis-
ing department was not far away — in New
York City. Contact was easy; he asked if
they had any samples for giveaways.

The answer was affirmative; the com-
pany had a new Vis-a-Vis French perfume,
and agreed to send two boxes of samples to

Banner announcing the opening of "Flower Drum
Song" at the Stanley Theatre attracts attention
along Race street in Philadelphia's Chinatown dis-
trict. The banner wos arranged by SW advertising
director Roy Robbins for two weeks before the show
opened and for the duration of its local run.

Stokes with a green light to arrange a
tiein promotion with the film.

First, Stokes had a female staffer parade
the shopping center in which the theatre
is situated with sandwich signs over her
shoulder. One side advertised “Secrets of
Women” and the other “Secrets of Beauty”
and the Rubenstein perfume. The pitch
was that free samples of Vis-a-Vis would
be given to the first 25 women every night
during “Secrets of Women.”

A little gimmick was arranged at the Bar
Harbour beauty salon which consisted of a
cardboard box covered with white paper.
On one end was this copy, “Secrets ol
Beauty by Mr. Albert” above a peephole,
beneath which was “See . . . ‘Secrets of
Women’ at the Bar Harbour Theatre.” In-
side was a still from the film with thea-
tre names and playdates.

Big Dance Studio Help
Assured 'Let's Twist'

Fred Astaire dance studios are giving
effective, ticket-selling assists to “Hey,
Let’s Twist!” locally and nationally. A com-
plete campaign guide has been issued to all
Astaire studios telling how to cooperate
with theatres on “Twist Parties,” give away
free dance certificates in connection with
the contests on the stage or in the theatre
lobby, make up special promotions for win-
dow displays and store tieins with Roulette
Records and other merchandise on the pic-
ture now available to exhibitors. The indi-
vidual dance studios also have received
two-column ad mats selling the picture and
dance lessons. The studios also are con-
tacting disc jockeys in behalf of the “Twist
Parties.”

— 10 —

A search via want ads for a genuine
ricksha being a dud, S. L. Sorkin of RKO
Keith’s in Syracuse, N.Y., had one built in
the theatre workshop from a pony cart.

Getting a husky young man to pull it and a
girl in Japanese attire to sit in it, he was
all set for a ballyhoo for “Bridge to the
Sun,” which was fully interesting even if
not authentic.

For a sneak preview two weeks in ad-
vance, besides newspaper, radio and TV
folk and leading citizens, Sorkin invited a
group of Japanese students attending
Syracuse University. When some of the
Japanese girls showed up in their native
costumes, a tape was made of their com-
ments on the film, which later was carried
by radio station WHEN.

A telephone interview between the mo-
tion picture editor of the Syracuse Herald -
Journal and Mrs. Gwen Terasaki, the
author of the “Bridge to the Sun” book,
yielded a three-colximn newspaper break,
followed up on Sunday with a six-colxxmn
picture layout on the film.

Japanese paintings were obtained from a
retired professor at Syracuse U. for a dis-
play in the lobby thi-oughout the run of the
film. A local artist was hired to draw
sketches of the leading characters in
“Bx-idge to the Sun” at a downtown store
and present his work to passersby.

Farris Shanbour, manager of the Plaza Theatre at
Oklahoma City, had this colorful lobby display on
"Flower Drum Song" up ten weeks in advance of
the December 22 opening. The booking was for
nine weeks.

BOXOFFICE Showmandiser :: Jan. 15, 1962

who
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'><ara r

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Happy Sponsor Choice
Great for 'Spartacus'

The president of the Junior-Senior
Forum in Wichita Falls, Tex., heads the
local radio and television station. Maybe
this wasn’t the reason Fred McHam, man-
ager of the Strand there for Trans-Texas
Theatres, asked the Junior-Senior Forum
to sponsor a benefit premiere of “Sparta-
cus,” but it turned out his selection was a
happy one.

Promotion for the benefit opening, or-
ganized by the Junior-Senior women, in-
cluded 40 television and 80 radio spots,
which were broadcast free along with the
campaign conducted by McHam. In addi-
tion, the women themselves (about 60)
went out and beat the bushes for ticket
sales, and put up 100 window signs which,
added to 100 standup cards put out by the
theatre, made a total of 200 window plugs
for the film.

McHam had a radio contest, in which ten
soundtrack albums were awarded, and
some television spots of his own, which just
about saturated these two mediums.

The Junior-Senior Forum sponsorship
also stimulated newspaper cooperation,
which added up to more than 200 inches of
illustrations and copy. For example, ten
or more stories about the coming “Sparta-
cus” benefit premiere appeared in the
Wichita Falls Times and the Record-News.

Manager McHam has a long-standing
want-ad page tieup with Record-News,
which includes a banner line and scene
mat, plus the daily scattering of the names
of five local persons among the want ads,
each good for a pass at the Strand. This
tieup was good for 20 inches a day on
“Spartacus” for 32 days, a total of 640
inches of cost-free advertising.

All material available on this film —
booklets, study guides, production stories,
etc. — were ordered, rubber-stamped with
theatre name and playdate and distributed
where they would do the most good.

Impressive lobby displays, distinctive both in size
and design, are used regularly at the Saenger The-
atre in New Orleans. The designers are Walt
Guarino, manager, and Bob Corbit of the Paramount
Gulf ad-promotion department, and the fabrication
is done in the Saenger workshop. Pictured here is
an eye-catcher for "Blue Hawaii." The face of Elvis
among the palm leaves is more than 12 feet above
the floor.

Apples Are Given to Miracles' Patrons;
Annie Distributes Some on Streets

Apple Annie — a staffer dressed up like
the character in the film — performed top
promotion work for “Pocketful of Miracles”
at the Gopher Theatre in Minneapolis. Ed
Linder, manager, obtained a thousand
apples free from the local Snoboy Apple Co.
and had Apple Annie distribute them at
downtown street corners and in the big
department stores. This was just before
Christmas during heavy shopping, and
made a heavy impact with the crowds.

Ad slugs were carried on the apple give-
away. The slugs in the theatre’s regular
ads and a layout ran for two weeks at
the expense of the Snoboy company, ad-
vertising that a free Snoboy apple would be
given to every patron at the December 20
opening.

The company which distributes the Re-
prise record for “Pocketful of Miracles”
placed displays in all (14) outlet stores in
the downtown area.

To get Apple Annie in the department
stores, Linder put passes in several letters
and addressed them to the managers of
the big stores, and had Apple Annie deliver
them personally. Naturally she took the
longest route to the managers’ offices,
making every floor in the stores.

Book dealers had banners on delivery
trucks reading, “Read Damon Runyon
Stories Now . . . See ’Pocketful of Miracles’

at the Gopher Theatre.”

Sarah Wallace, chief of public relations
for the Minneapolis public libraries okayed
the placing of displays in 14 branches.
Linder put up a particularly fine one in the
new library, using 30x40’s and 11x14s.

Winners on Front Page

Two-column photos of the winners of
two recent contests promoted by Bill
Samuels, manager of the Majestic Theatre
in Eastland, Tex., appeared on the front
page of the Eastland Telegram. One pic-
tured the woman (over 60) who won a
rocking chair donated by a local furniture
store for writing the best letter on “Why I
would like to see ‘The Second Time Around’
at the Majestic Theatre,” and the other
showed the young woman who collected the
most Dr Pepper bottle caps and became
Miss Pepper Upper.

'Hawaii' Leis at Dance

The F. C. Hayer Co. of Minneapolis,
which handles RCA records in that area,
supplied 144 “Blue Hawaii” leis and had
Bill Diehl, local motion picture columnist,
give them away at a Friday night dance at
the big Prom ballroom with announce-
ments that “Blue Hawaii” was opening at
the Gopher Theatre. Ed Linder, manager
of the Gopher, reports there were about
1,800 persons at the dance. He regards this
film as a hot one which will do good busi-
ness v/ith a little extra push.

Query on New King!

Bernie Menschell, president of the Out-
door Theatres Corp. of Connecticut,
awarded guest tickets for best-rated
answers to query, “Do you believe Tony
Curtis has replaced Clark Gable as ‘King’?”
in conjunction with a triple-bill — “The
Kings Go Forth,” “Sweet Smell of Success”
and “The Perfect Furlough” — at the Pike
Drive-In at Hartford. The top responses
have been mailed to Curtis in California.

Page Ad on 'Trap' Takes
Lot of Footwork; Pays Big

Determination and “a lot of footwork”
by P. W. Stagger, manager of the Star
Theatre in Upper Sandusky, Ohio, who also
manages the Indian Trail Drive-In there
in season, paid off with “one of the best
grosses I have had in a long time.”

The film was “The Parent Trap.”

First he sat down at his desk and laid out
a full page ad. He relates: “This took me
one whole afternoon. I wanted this to be
something special, a salute to Walt Disney,
himself. On this full page I took just about
a half page for my ad on ‘The Parent Trap’
and Walt Disney’s short, ‘The Saga of
Windwagon Smith,’ and my playdates
headlines. Also, I told the people where
and when they could see this, and what
they were going to see!

“The rest of the page I made into equal
squares, 12 all together, for advertising and
went out and sold the ads myself. I sold
these to cover the cost of the page; this
way it didn’t cost me anything. This took
a lot of footwork, but I know it paid off as
I had one of the best grosses I have had in
a long time.”

The Star opened on a Thursday with
“The Parent Trap,” and the newspaper
gave Stagger a story break on the previous
Monday. This was all free.

About three weeks in advance he put a
teaser trailer on the screen.

'Toyland' by Santa Claus

Santa Claus in a helicopter delivered a
print of “Babes in Toyland” on the campus
of the University of Buffalo, a few steps
from the Granada Theatre there, where the
film opened just before Christmas.

BOXOFFICE Showmandiser :: Jan. 15, 1962

— 11 —

Art Theatre Also Goes for Kid Trade;
Young Manager Finds No Conflict

This paradox, this apparent impossibility,
has been worked out by Alan M. Brunner,
new manager of the Cine Webb Theatre
for Lockwood &
Gordon Theatres at
Hartford, Conn., who
is screening selected
family films on Sat-
urday afternoons. He
succeeded Bill Mur-
phy at the Cine
Webb, when the lat-
ter was shifted to
L&G’s Cinerama
theatre.

“When we got into
the actual running of
kiddy shows on Sat-
urday (he started with ‘Stop, Look and
Laugh,’ plus cartoons and distribution of
novelties, at 35 cents), we realized at the

outset that a great many, perhaps an

alarming quantity, of family adults would
think that since the Cine Webb is pri-
marily an art product outlet, what could it
serve up for kiddy attractions?” Brunner
related.

He’s solved this problem effectively, even
spectacularly, as the black ink on the
Saturday matinee boxoffice statements
proclaims.

SEPARATE ADS USED

For one thing, he decided to use ads
separate from the daily Cine Webb dis-
play space. For another, he ordered his
cashiers to specify, “All children’s show
. . . the adult program starts at night,” in
response to phoned queries. Moreover,
Brunner, with an eye to the. public reac-
tion, stripped his outer and inner lobbies
of all paper, stills and what-have-you in
the way of quotes, notes and anecdotes
about adult films, from 12 noon Saturday
until conclusion of the matinee program.

“I want these kiddies, accompanied by
their discerning adults, to know that the
Cine Webb is their movie outlet, too, and
what better way to accomplish this than
to decorate the public exposure points with
one-sheets and stills about kiddy shows and
kiddy stars?”

The response has been most encourag-
ing, especially in view of the fact that these
kiddy shows are a relatively new addition
to the Cine Webb format. Since it is the
sole motion picture theatre in the growing
suburb of Wethersfield, the Cine Webb
unavoidably finds its policies and pro-
grams the targets of varied and sundry
public opinion groups, the approach to a
successful kiddy show format is to prove
to the town blue-noses, so to speak, that
the Cine Webb can serve up wholesome
screen entertainment.

At 25, Brunner looks back on eight
years of affiliation with exhibition. Attend-
ing Hope High School in his native Provi-
dence, R. I., he went to work as an usher
for Nelson Wright, then managing the

Lockwood & Gordon Hope Theatre.

“I honestly don’t understand,” he said,
“how anybody training for managerial re-
sponsibilities in exhibition can undertake
administration without having worked for
a token spell, at least, on the floor, as
either a doorman or usher. This is the
only surefire way a newcomer can guage
public tastes.”

His dad Arthur Brunner for many years
was in the news section of the Providence
Journal-Bulletin newspapers. “My dad told
me a long time ago never to underestimate
the public’s reaction to anything that even
remotely affects them . . . The public
will plunk down its money for a news-
paper — or a motion picture — only if it’s
interested enough to want to reach into
its pocket. The good newspaperman, or the
good theatreman, is one who can persuade
the public to pai't with its money.”

LEARNED HOW TO SMILE

Young Brunner worked at the Hope for
two years, eventually becoming assistant
manager. Along the way, he absorbed the
basic principles “of keeping a smile on my
face in greeting and treating the public.
There is nothing so important as making
the customer feel important. He won’t
come back unless he feels he’s been treated
well.”

Majoring in business courses at Provi-
dence’s Bryant College, Brunner played
in his spare time with the Billy Poore
orchestra in Rhode Island and Long Island
Sound country clubs. “I was a pianist for
a while, but the idea of a musical, perform-
ing career paled when I came to realize
how much more challenge there is in man-
aging a motion picture theatre. I honestly
believe that a theatre manager’s job is
tremendously stimulating, always calling on
the individual to ever improve his imagina-
tion.”

Brunner managed L&G’s Chelmsford
Drive-In, near Lowell, Mass., just prior to
moving into Hartford, where L&G oper-
ates nine situations.

THE FIRST STEP

Ed Stokes, manager of the L&G Avon
Cinema, Providence, works with Brunner
on Cine Webb advertising and promotion.
“We are both in accord,” Brunner con-
tinued, “to the effect that getting the
public into the theatre is just the opening
gun in a long-range combination of fac-
tors, that include such important, vital
matters as keeping a theatre in spotless
condition, the theatre staff itself constant-
ly on its toes, and keeping in touch
constantly with the theatre editors of the
area newspapers.

“I can’t be overly concerned with alert-
ing the theatre editors of both current
and upcoming screen product. These are
the boys who are as much concerned with
the public reaction as we at the theatres
and we should look to them for advice and

Alan Brunner

Featuring modeled busts of stars Rosalind Russell
and Alex Guinness, is this lobby display announcing
the premiere December 26 of "A Majority of One"
at the Village Theatre in the Westwood section of
Los Angeles. Lou Grim, the manager, also had a
red carpet, seen in the foreground, ready to roll
out at the entrance on premiere night.

vho

encouragement beyond the mere practice
of dropping a press sheet and a few choice
stills on their desks for subsequent selec-
tion and publication.

“The theatre manager who thinks it’s
all well and good to send a package of
publicity material by messenger to the
newspapers is only whistling sadly in the
dark. Only the knowledge that the theatre St.
manager is sufficiently interested in public
relations to the extent that he’ll take the
trouble, at least once a week, to come
into the newspaper and chat for a few
minutes, will influence the newspaper
editor. He’s a good friend and counselor
so long as he’s contacted. Handling press
relations by remote control is sloppy think-
ing and leads, in turn, to sloppy boxoffice
statements. It all has to add up!”

Summing up, Brunner said: “The

modern art theatre is a highly specialized
off-beat part of the industry. The entire
atmosphere and treatment differ drasti-
cally from that in effect at the conventional
downtown or subsequent-run situation. I
feel a great deal of personal selection and
a wider area of choice are possible, thus
allowing you to maintain a consistent level
of quality, as compared to other theatres
generally faced with the problem of book-
ing pictures.”

Smelling Salts Signs Up

Signs reading, “SMELLING SALTS will
be available (limited quantity only) TO
OUR PATRONS during performances of
‘House of Fright’ and ‘Black Pit of Dr. M.‘
Starts Saturday,” in several places through-
out the lobby of the Poli Theatre, Spring-
field, Mass., by Charles Gaudino, manager.

Herald Printers Diversify lal

The LeViant Printing Co. of Pittsburgh,
printers of theatre heralds and programs
and window cards for 35 years, has pur-
chased the Rippl print shop, printers of
labels and commercial jobs.

— 12 —

BOXOFTICE Showmandiser :: Jan. 15, 1962

An interpretive onolysis of lay and tradepress reviews. Running time is in parentheses. The
plus and minus signs indicate degree of merit. Listings cover current reviews, updated regularly.
This department also serves as on ALPHABETICAL INDEX to feature releases. © is for
Cinemascope; ® VistaVision; © Superscope; ® Ponavision ® Regalscope; © Technirama.
Symbol {]) denotes BOXOFFICE Blue Ribbon Award; © color photography. For listings by
company in the order of release, see FEATURE CHART.

Review digest

AND ALPHABETICAL INDEX

4 Very Good; 4 Good; — Fair; — Poor; — Very Poor.

v> 1

1 £

i-L

fe S fe

i "

O R

Vs .£ fez

fe * i * «

X cc >

X cc

aSlzo

In the summary ft is rated 2 pluses, — as 2 minuses.

II:

is S'

= cc :

^ S

a,>-

1=5

= S s Sl*:=

2550 ©Ada (108) © Drama

. MGM

8- 7-61 -f

2552 After Mein Kampf

(74) Semidoc’y

. Brenner

B-14-61 ±

—

343-

2546 ©Alakazam the Great

(84) Cartoon Feature . .

AIP

7-17-61 4

2574 Anatomist, The (73) Dr

Gordon-SR

10-30-61 ±

243-

2562 Anatomy of a Psycho (75) Dr

9-18-61 -

2524 Angel Baby (97) Drama . .

5-15-61 ft

2*2

842-

2549 Armored Command (99) War Dr AA

8- 7-61 4

2*2

542-

2578 Atlantic Adventure (62)

Real-life Adv. Dr

Schoenfeld

11-13-61 4

2541 ©Atlas (84) Spec. VitaScope.

Filmgroup

7- 3-61 4

— B ■■ —

2586 ©Babes in Toyland (100) Mus BV

12-11-61 +

841-

2583 ©Bachelor Flat (91) © Com.

• 20th- Fox

12- 4-61 +

841-

2576 ©Bachelor in Paradise

(109) © Com

. . . .MGM

11- 6-61 4

4 104

2570 ©Back Street (107) Drama...

U-l

10-16-61 4

± 1041-

2569 Badjao (100) Action Dr

10-16-61 ±

441-

2545 Battle at Bloody Beach, The

(80) © War Drama

.20th-Fox

7-17-61 +

2*z

2*2

744-

2531 Beware of Children (SO) Com AIP

6- 5-61 +

441-

2556 ©Big Gamble, The (100) © Ad. 20-Fox

8-28-61 +

741-

2566 Black Pit of Dr. M (71) Ho

. . .UPRO

8- 2-61 ±

141-

2560 ©Blood and Roses (74) ©

Dr. . . Para

9-11-61 ±

■+2

2*2

746-

2579 Bloodlust (68) Horror

11-20-61 -

2582 ©Blue Hawaii (101) ® Com/Mus Para 11-27-61 -f

2*2

641-

2566 Boy Who Caught a Crook (72)

Ac. . . UA

10- 2-61 4

2*2

—

445-

2543 Brainwashed (78) Dr

7-10-61 ±

741-

2568 ©Breakfast at Tiffany’s (115)

Cy Para

10- 9-61 4

4 114

2554 Bridge to the Sun (112) Drama.. MGM

8-21-61 -H-

ft 114

2534 ©By Love Possessed (116) Drama UA

6-12-61 +

8+2-

2578 ©Call Me Genius (105) Com..

11-13-61 ±

—

342-

2583 Capture That Capsule! (75)

Action Drama

Riviera-SR

12- 4-61 ±

—

243-

2551 Cat Burglar, The (65) Ac Dr.

8-14-61 ±

241-

2588 Children’s Hour, The (109) Dr. ..MGM

12-18-61 4

2558 Claudelle Inglish (99) Dr

9- 4-61 ±

2*2

744-

2550 Cold Wind in August (80) Dr. ..Aidart

8- 7-61 +

2*2

743-

2589 ©Colossus of Rhodes, The

(128) © Adv. Sped

. . . .MGM

12-25-61 +

2*2

r*2

6+2-

2575 ©Comancheros, The (107) ©

Outdoor Drama

. 20th-Fox 11- 6-61 4

4 104

2544 ©Come September (112) © Com...U-l

7-10-61 4

ft 134

2590 Continental Twist, The (78)

Mus. . .SR

12-25-61 +

2*2

341-

2549 Creature From the Haunted Sea

(60) Horror Spoof

Filmgroup

8- 7-61 +

2521 Cry Freedom (90) Dr

5- 8-61 ±

441-

— D —

2528 ©David and Goliath (93)

5-22-61 4

8+3-

2559 Day the Sky Exploded, The

(80) Science-Fiction

. Excelsior

9-11-61 4

2535 ©Deadly Companions, The (90)

Panav’n, Western Pathe-America

6-12-61 4

2547 Dentist in the Chair (84) Com.

Aiay

7-24-61 4

6+1-

2594 Desert Patrol (78) War Drama.... U-l

1- 8-62 +

2564 ©Devil at 4 O'clock, The

(127) Adv. Dr

Col

9-25.61 4

ft 124

2573 Devil’s Hand, The (71)

Horror-Terror

Crown-SR

10-30-61 ±

141-

2588 Double Bunk (92) Farce

. Showcorp 12-18-61 4

2*2

-4;

442-

2588 ©El Cid (184) © Hist Spec..

12-18-61 -H-

ft 114

2585 Errand Boy, The (92) Comedy

’ Para

12-11-61 +

2577 Everything's Ducky (80) Comedy. ... Col

11-13-61 —

2*2

2+:

2*2

2±2

6+5-

2490 ©Exodus (212) Super-Panavision 70

Drama

12-26-60 4

ft 14+

2562 Explosive Generation, The

(90) Dr

9-18-61 4

2*2

7+1-

2542 ©Fanny (133) Com. Dr. ...

. 20th-Fox

7- 3-61 4

ft 144

2557 Fast Set. The (84) Comedy Audubon-SR

9- 4-61 ±

1+1-

2577 Fear No More (80) Suspense Dr. Sutton

11-13-61 4

2531 Five Golden Hours (90) Comedy

Col

6- 5-61 +

—

2*2

6+5-

2575 ©Flight of the Lost Balloon

(91) © Adventure

11- 6-61 +

—

2*2

2 +2-

2563 Flight That Disappeared, The

(72) Seience-F’n

9-25-61 4

2*2

7+4-

2580 ^©Flower Drum Song (133)

U-l

11-20-61 4

ft 124

2538 Follow a Star (102) Comedy .

. . .Zenith

6-19-61 ±

3+3--

2577 ©Force of Impulse (84) Dr..

11-13-61 +

2548 ©Francis of Assisi (105) ©

Religious Drama

20th-Fox

7-24-61 +

2*2

4 1041-

2523 Gambler Wore a Gun, The (67)

W’n. .UA

5-15-61 ±

2*2

444-

2585 George Raft Storv. The (105)

Biographical Drama

12-11-61 +

2533 ©Gidget Goes Hawaiian (102)

C/M. .Col

6-12-61 +

—

4 841-

2579 ©Gina (92) Adv. Dr

11-20-61 4

2542 ©Girl in Room 13, The (79)

.... Astor

7- 3-61 +

2563 Girls on the Run (64) Mys. .

9-25-61 ±

141-

2544 Goodbye Again (120) Dr

7-10-61 +

4 1041-

2481 Great Impostor, The (112) Dr U-l

11-28-60 4

4 124

2560 Great War, The (118) Drama .

. . . Lopert

9-11-61 +

2*2

ft 941-

2540 Green Helmet, The (88) Ac...

MGM

6-26-61 4

—

± 6++—

2556 y©Greyfriars Bobby (91) Drama . . . . BV

8-28-61 4

4 124

2529 Gun Fight (62) Western . .

5-29-61 ±

2*2

—

443-

2587 Gun Street (67) Western

12-18-61 ±

—

142-

2593 ©Guns of the Black Witch

(81) © Adv. Dr

AIP

1- 8-61 ±

141-

2533 ©Guns of Navarone, The (155)

Col

6-12-61 4

4 14+

— H —

2488 Hand in Hand (75) Dr

Col

12-19-60 4

4 13+

2572 Head, The (95) Horror

Trans-Lux

10-23-61 4

—

2*2

—

3+4-

2590 Hey, Let’s Twist! (80) Musical .... Para

12-25-61 4

2+2

5+1-

2535 Hitler’s Executioners (78)

Documentary

. . Vitalite

6-12-61 ±

3+1-

2539 Homicidal (87) Mys

Col

6-26-61 4

+ 94-

2546 ©Honeymoon Machine (87)

MGM

7-17-61 4

4 114

2530 ©House of Fright (80) C Ho..

AIP

5-29-61 4

2*2

543-

2565 Hustler, The (134) © Drama

■20th-Fox

10- 2-61 4

4 H4

2587 Innocents, The (100) ©

Suspense Drama

.20th -Fox

12-18-61 4

4 1341-

2556 Invasion Quartet (87) Com-Dr

. .MGM

8-28-61 ±

2*2

743-

2574 Judgment at Nuremberg (189) Dr UA

10-30-61 4

4 144

— K —

2592 Karate (80) Ac Dr

1- 1-62 ±

141-

2571 y©King of Kings (161) ©

Religious Drama

. . . MGM

10-23-61 4

4 134

2540 King of the Roaring 20’s

(106) Cr. Drama

6-26-61 4

841-

2582 Kitchen, The (74) Drama...

. Kingsley

11-27-61 4

2*2

541-

2533 ©Ladies Man, Tire (106) Com.

... Para

6-12-61 4

2*2

9 + 2 -

2561 ©Last Rebel, The (S3)

Adv. Dr Sterling World

9-18-61 4

2532 ©Last Sunset, The (112) W’n. .

U-l

6- 5-61 4

2*2

4‘

942-

2529 Last Time 1 Saw Archie, The

(98) Comedy

5-29-61 +

741-

2563 Lisette (83) Action

Medallion

9-25-61 -

2593 Long and the Short and the

Tall, The (102) War Dr..

. . . Cont’l

1 - 8-62 4

2549 ©Loss of Innocence (99) Dr..

8- 7-61 4

4 104

2593 Lost Battalion (83) War Dr. . .

AIP

1- 8-62 gfc

141-

2534 ©Love in a Goldfish Bowl (87)

Comedy/Songs

. . .MGM

6-12-61 4

2*2

—

2*2

6+4-

2590 ©Lover Come Back (107) Comedy.. U-l

12-25-61 4

— M —

2524 Mad Dog Coll (88) Ac Dr

. . .Col

5-15-61 +

±.

2*2

743-

2552 ©Magic Boy (75) Cartoon Feature.
2580 ©Majority of One, A (153)

MGM

8-14-61 4

Comedy-Drama

. . .WB

11-20-61 4

114

2541 Man in the Moon (98) Com. . .Trans- Lux

7- 3-61 +

2562 Man-Trap (93) Ac Dr

2554 ©Marines, Let’s Go (104) ©

. . Para

9-18-61 +

2*2

—

644-

Service comedy 20th-Fox

8-21-61 ±

2*2

2+;

6+5-

2573 Mark, The (127) © Drama . . .

.Cont’l

10-30-61 4

4 124

2546 Mary Had a Little (79) Comedy.
2576 Mask, The (83) Depth-dimension

. ..UA

7-17-61 ±

—

3+4-

Horror Drama

. . WB

11- 6-61 +

—

2*2

6+4-

2525 ©Master of the World (104)

Science-Fiction Drama

. AIP

5-15-61 4

4 1241-

2532 Matter of Morals, A (90)

Drama

. . .UA

6- 5-61 +

2*2

7+1-

2518 Mein Kampf (117) Documentary .
2594 ©Midsummer Night’s Dream

. . . Col

4-24-61 +

(74) © Puppet Fantasy . . . .Showcorp

1- 8-62 ±

9+1-

BOXOFFICE BookinGuide :: Jan. 15, 1962

REVIEW DIGEST

AND ALPHABETICAL INDEX

2523 ©Minotaur. The (92) © Adv UA

2537 ©Misty (92) © Youth Classic 20tlr-Fox
2535 ©Morgan the Pirate (93) © Adv. MGM

2538 Most Dangerous Man Alive (82) SF Col

2569 Mr. Sardonicus (90) Ho. Col

2587 ©Mysterious Island (101)

Anamorphic, Adv Col

— N —

2S43 Naked Edge. The (102) Susp. Dr. . . UA
2545 Naked Road. The (74) Meio...Zison Ent
2519 ©Nature Girl and the Slaver

(70) Adv UPRO

2553 Never Take Candy From a Stranger

(82) Psychological Dr Omat

2536 ©Nikki. Wild Dog of the North

(73) Outdoor Drama BV

2574 Ninth Bullet, The (90)

Adventura Dr Audubon-SR

2591 No Love for Johnnie (110)

Drama Embassy

2527 ©On the Double (92)

Panavisron Comedy Para

2555 One Plus One (114) Dr SR

2583 One, Two, Three (115) ® Comedy. . . . UA

2510 Opoation Bottleneck (78) Ac UA

2554 Operation Camel (74) Sen. Comedy.. AIP
2509 Opoation Eichmann (92) Drama.... AA
2S89 Outsider, The (108) Drama U-l

2591 Pagan Island (60) Adv Cinema Syn

2523 y© Parent Trcm, The (124) Comedy BV

2566 Paris Blues (98) Drama/Jazz UA

2520 ©Pharaohs’ Woman, The (88)

2585 ©Pirate of the Black Hawk, The

(75) ® Adventure Filmgroup

2559 ©Pirate and the Slave Girl, The

(87) Adv Crest-SR

2567 ©Pirates of Tortuga (97) © Adv 20-Fox
2552 ©Pit and the Pendulum, The (85)

2519 ©©Pleasure of His Company, The

(114) Comedy Para

2578 ©Pocketful of Miracles (137)

Comedy-Drama UA

2515 Portrait of a Mobster (108)

Crime Drama WB

2522 Portrait of a Sinner (96) Dr AIP

2530 ©Primitive Paradise (66)

Documentary Excelsior

2570 Pure Hail of SL Trinian's,

The (94) Farce Cont'l

2573 ©Purple Hills, The (60)

2580 ©Purple Noon (115) Murder Dr. . .Times

2561 Queen of the Pirates (90)

$ Sea Adv. (Eng-dubbed) Col

2516 Question 7 (110) Dr DeRochemont

2516 Raisin in the Sun, A (128) Dr Col

2551 Rebellion in Cuba (80) Doc Dr IFD

2564 Respectful Prostitute, The

(74) Dr. (Eng-dubbed) Times

2522 ©Return to Peyton Place

(122) © Drama 20th-Fox

2529 ©Revolt of the Slaves (100)

2526 Right Approach, The (92)

2519 ©Ring of Fire (91)

Outdoor Action MGM

2568 Risk, The (81) Drama Kingsley

2584 ©Roman Spring of Mrs. Stone,

The (103) Drama WB

2524 ©Romanoff and Juliet (112) Com. .. U-l
2557 Rommel’s Treasure (85) Ac. . . Medallion
2564 Ruffians, The (86)

Susp. Dr. (Eng-dubbed) Ellis

2592 Sail a Crooked Ship (S8) Comedy Col

2S58 Sand Castle, The (70)

True-Life Fantasy DeRochemont

2515 Saturday Night and Sunday

Morning (90) Drama Cont'l

In the summary 44 is rated 2 pluses, — os 2 minuses.

44 Very Good; + Good; — Fair; — Poor; — Very Poor.

A- 1 § 2 ' >«

iliS 2

S te S J5

ml xtn>

-a

» St

J 1-5 S
L.IXC

£ V
»£

S=s

o &

s== I

zol <3

5-15-61 +

5+4—

6-19-61 44

-H-

44 12+

6-12-61 +

7+3-

6-19-61 +

—

2+5-

10-16-61 +

6+3-

12-18-61 +

•

9+1-

7-10-61 44

44 U+1-

7-17-61 -

9- 1-61 ±

1+1-

8-21-61 +

6-12-61 +

10-30-61 44

1- 1-62 +

44 10+

5-22-61 44

44 12+1-

8-28-61 ±

-+-

it 6+4-

12- 4-61 44

4-4

44 n+

3-13-61 +

—

4+3-

8-21-61 jt

1+1-

3-13-61 44

—

+ 8+2—

12-25-61 +

6+1—

1- 1-62 ±

1+1-

5-15-61 ft

44 13+

10- 2-61 44

+ 7+

5- 1-61 ±

4+4—

12-11-61 +

- 1+1-

9-11-61 +

10- 9-61 +

H-

± 6+4-

8-14-61 +

± 8+1-

5- 1-61 44

+ 11+

11-13-61 4+

44 11+1-

4- 3-61 44

+ 10+1-

5- 8-61 44

5-29-61 44

10-16-61 ±

+ 3+3-

10-30-61 +

4+1-

11-20-61 +

+ 5+1-

9-18-61

3+2-

3-61

10+1-

3-61

12+

8-14-61

2+1-

9-25-61

-4-

2+2-

8-61

9+1-

5-29-61

5+3-

5-15-61

5+5-

1-61

9+2-

10-

9-61

12-

4-61

-4-

6+1-

5-15-61

11+

4-61

9-25-61

1-62

5+1-

4-61

4-17-61

2464 ©Savage Innocents, The (89)

® Adv. Dr Para

2551 Scream of Fear (81) Susp. Dr Col

2569 Season of Passion (92) Dr UA

2575 ©Second Time Around, The (99)

2567 Secret of Deep Harbor (70) Dr. . . UA
2550 ©Secret of Monte Cristo, The

(80) © Adv. Dr MGM

2561 Sergeant Was a Lady, The

(72) Service Comedy U-l

2570 Seven Women From Hell (88)

2539 Silent Call, The (63) C Dr.. .20th-Fox
2594 Singer Not the Song, The

(129) © Drama WB

2547 ©Sins of Mona Kent, The (75)

Drama Art or

2530 ©Snow White and the Three

Stooges (107) © Fant’y . . . . 20th-FoK

2591 Something Wild (112) Dr UA

2560 ©Splendor in the Grass (124) Dr.. .WB

2525 ©Steel Claw, The (96) Ac WB

2536 Stop Me Before I Kill! (93)

Suspense Dr Col

2584 ©Summer and Smoke (118) ® Dr. ..Para

2558 ©Sun Lovers Holiday (65) ©

Novelty Astor

2568 ©Susan Siade (116) Drama WB

— T—

2539 y©Tammy Tell lie True

(97) Com. Dr U-l

2555 Teenage Millionaire (84)

Musical (sane cola is used)....UA

2543 ©Thief of B*>hdad

(90) © Ad. Fantasy MGM

2534 Three Blondes in His Ufe

(73) Mystery Cinema Assoc

2559 Three on a Spree (S3) Comedy ....UA
2557 ©Thunder of Orums, A (97)

2542 Time Bomb (92) Suspense Dr AA

2572 Town Without Pity (106) Dr UA

2510 y©T rapp Family, The (106)

Comedy-Drama 20th-Fax

2541 Trouble in the Sky (76) Actlon-Dr. . . U-l
2586 Trunk, The (72) Suspense Dr Col

2548 Truth, The (Le Verite) (127)

Dr., Eng-dubbed Kingsley

2544 20,000 Eyes (61) © Dr 20th- Fox

2592 Twist Around the Clock (86)

Musical Col

2589 Two Little Bears, The (81)

2538 ©Two Rode Together (109) Dr Col

2565 Two Women (105) Dr. (Eng dubbed)

Also with titles Embassy

2553 Unstoppable Man, The (68)

Suspense Drama Sutton

2545 ©Upstairs and Downstairs

(100) Comedy 20th-Fox

2581 Valley of the Dragons (79) Adv Col

2540 ©Voyage to the Bottom of the

Sea (105) © Ad 20th- Fox

— W—

2527 ©Warrior Empress, The (87)

2586 Weekend With Lulu, A (91) Comedy.. Col
2567 ©West Side Stay (115)

Panavision, Musical Dr UA

2532 When the Clock Strikes (72)

Mystery UA

2584 Wild fa Kicks (92) Dr Times

2537 ©Wild in the Country (114)

2565 Wild Youth (73) Dr Cinema Assoc

2576 ©Wonders of Aladdin, The (93)

2553 ©World by Night (103)

A survey of world night spots. . . .WB
— XYZ —

2579 ©X-15 (112) ® Dr UA

2547 You Have to Run Fast (73)

Suspense Drama UA

2555 y Young Doctors, The (102) Dr UA

9-26-60 44 44 +
8-14-61 + + +
10-16-61 + ± 44

11- 6-61 + + ±
10- 9-61 ±

8- 7-61 + + ±

9- 18-61 + ± ±

10-16-61 + ± —
6-26-61 ± — +

1- 8-62 -I- +

7-24-61 +

5-29-61 -H- ± -
1- 1-62 ± ±
9-11-61 44 44 44

5- 15-61 ± + -

6- 12-61 + + +
12- 4-61 44 44 44

9- 4-61 ±

10- 9-61 ± + ±

6- 26-61 + it +

8- 28-61 + ± it

7- 10-61 + -f- it

6-12-61 ± -

9- 11-61 -f ±

9- 4-61 + + it
7- 3-61 +

10-23-61 44 + +

3-13-61 + + ±

7- 3-61 it
12-11-61 +

7-24-61 -H- + +
7-10-61 + ±

1- 1-62 + it it

12-25-61 ± — +

6-19-61 -H- + ±

10- 2-61 4+ 44 44

8-21-61 +

7-17-61 -H- 44 +

11-27-61 ± — -
6-26-61 + + +

5- 22-61 ± ± ±
12-11-61 44

10- 9-61 -H- ++ ++

6- 5-61 ± — ±
12- 4-61 ±

6- 19-61 + ± ±
10- 2-61 -

11- 6-61 +f — ±

8-21-61 + + ±
11-20-61 + ± ±

7- 24-61 ± ±

8- 28-61 44 44 44

11+1—

8 +

-4-

8+2-

44-

9+1-

—

3 + 5 -

5+3-

5+5-

5+2-

6+4-

1 +

•tt

84-2—

4+2-

44 M+

±.

8 + 5 -

8 + 1 -

44 14+ *

1 + 1 -

8+3-

9+2-

5+4 —

7+2—

-4-

2+3-

—

4 + 3 -

9 + 1 -

2 + 1 -

10+2-

7+3-

2 + 1 -

3+1-

84-

5 + 2 -

6+3-

±.

+ UH-2-

18 +

1 +

3+5-

8 + 1 -

-+■

±.

7+5

14 +

4+5-

1 + 1 -

7+-*—

1 -

= 4-

7+4-

8 + 1 -

8+2-

4 + 5 -

13 + 1 -

BOXOFFICE BookiziGuide

Jan. 15, 1962

Feature productions by company in order of release. Running time is in parentheses. © is for CinemaScope;
® VistaVision; ® Superscope; ® Panovision; (§) Regalscope; ® Techniroma. Symbol Q denotes BOXOFFICE
Blue Ribbon Award; © color photography. Letters and combinations thereof indicate story type — (Complete
key on next page.) For review dates and Picture Guide page numbers, see REVIEW DIGEST.

Feature chart

ALLIED ARTISTS | U

AMERICAN INT L | H

COLUMBIA | U

<T)

Type

Rel.

No.

Angel Baby (97) D 6105

Joan B nmle'1. George Hamilton,
Mercedes McCambridge, Salome Jens

©David and Goliath

(93) © Bib D. 6106

Orson Welles, lvo Payer.

Pierre Cranny

Mad Dog Coll (88) Cr. .534

K. Doubleday, B. Hayward
Five Golden Hours (90) . . . D .539
Ernie Kovacs, Cyd Oharisse
Stop Me Before 1 Kill

(93) © D 535

Claude Dauphlne. Diane Cilento

Mein Kampf (117) Doc.. 538

©Warrior Empress (87)

" © Ad . . 524

Kerwin Mathews, Tina Louise

©Atlantis, the Lost

Continent (90) Ad.. 113

Joyce Taylor, Anthony Ilall

©Two Loves (100) © . D .117
Shirley MacLaine. Laurence Harvey.
Jack Hawkins

K.ng of the Roaring 20’s

(106) Cr . . 6107

Itavtd Janssen, Diane Foster.

Jack Carson, Diana Dors,

Mickey Rooney

Brainwashed (78) D .6106

Curt Jurgens. CSaire Bloom

©Master of the World

(104) SF..607

Vincent Price, Charles Bronson,
Henry Hull, Mary Webster

©House of Fright (80) ..Ho.. 604
Paul Massie. Dawn Vddair*

Operation Camel (70) ... C . 605

Nora Hayden, Louise Renard

Homicidal (87) Ho.. 540

Glenn Corbett. Patricia Breslin

Most Dangerous Mam Alive

(82) Ac. 541

Ron Randell, Debra Paget.

Elaine Stewart

©Ring of Fire (91) Ac. .119

David Janssen, Joyce Taylor,

Frank Gorsliin

The Green Helmet (88) ..Ac . 116
Bill Travers, Ed Begley.

Nancy Walters

Armored Command (99) . Ac. .6109
Howard Keel. Tina Louise

©Alakazam the Great (84) An.. 608
Cartoon feature, with voices of
Frankie Avalon and others

JULY-AUGUST
©Gidget Goes Hawaiian

(102) © D .603

James Darren, Deborah Walley.
Michael Callan, Vicki Trickett
©The Guns of Navarone

(155) © D . .603

Gregory Peck, David Niven
©Two Rode Together

(109) OD 602

James Stewart, Richard Widmark,
Shirley Jones, Linda Cristal

©Morgan the Pirate

(93) © Ad .120

Steve Reeves, Valerie Lagrange
©The Honeymoon Machine

(87) © C. .122

Steve McQueen, Paula Prentiss,
Brigid Bazlen, Jim Hutton

©Magic Boy (75) An.. 107

Feature-length cartoon
©The Secret of Monte

Cristo (80) © Ad .121

Rory Calhoun, Patricia Bredin

©The Pit and the Pendulum

(85) Panavision Ho. 609

Vincent Price, John Kerr,

Barbara Steele, Lnuna Anders

©Ada (108) © D .124

Susan Hayward. Dean Martin,
Ralph Meeker

©Thief of Baghdad (90) © Ad. .123
Steve Reeves, Georgia Moll

Scream of Fear (81) . D 605

Susan Straxberg. RonaJd Lewis

Die Trunk (72) D . 606

Phi! Carey, Julia Amal!

©A Thunder of Drums

(97) © 0 D 201

Richard Boone. George Hamilton,
Luan* Patter

Twenty Plus Two (102) . My. .6110
David Janssen. Jeanne Crain,

Dina Merrill. Agnes Moorehead

©The Devil at 4 O'clock

(127) D .607

Spencer Tracy, Frank Sinatra

©Loss of Innocence (99) . D .608
K. More, D. Dameui, 8. York

A Weekend With Lulu (91) . C. .609
I-eelle Phillips, ltob’t Monkhouse

Bridge to the Sun (112) .. D..202
Carroll Baler, James Shigeta

Invasion Quartet (S7) . . CD . .203

Bill Tr-u-ers. Spike Milligan

©Guns of the Black Witch

(81) © Ad.. 610

Don Megowan Silvana Pampanini

Mr. Sardonicus (90) ... Ho.. 611

Oscar Homoika, Guy Rolfc

Vafley of the Dragons (79) Ad.. 612
Scan MeClory

Everything's Ducky (81) ..C..610

Mickey Rooney, Buddy Hackett

Queen of the Pirates

(80) ® Ad.. 604

Glanna Maria Canale. M. Serato

©Colossus of Rhodes

(128) © Ad 204

Kory Calhoun. Lea Massari

©Bachelor in Paradise

(109) © C. .205

Bob Hope, Lana 'Turner, Janis Paige,
Jim Hutton, Paula Prentiss

The George Raft Story

(105) D .6111

Ray Danton, Jayne Mansfield,
Julie London. Barrie Chase

©Journey to the Seventh

Planet (SO) SF . 613

John Agar, Greta Thyssen

Lost Battalion (83) Ac. .611

Leopold Salcedo, Diane Jergens

Cash on Demand (84) ..Ac.. 615

Peter Cnshlne, Andre Morell

©Mysterious Island (101) Ad . 613
(Super-D.vnamat.ion), anamorpbic
Michael Craig. Joan Greenwood,
Michael Callan, Gary Merrill

Sail a Crooked Ship (88). C.. 614
Robert Wagner, Dolores Hart,
Carolyn Jones, Ernie Kovacs
(pre-release)

©The Wonders of

Aladdin (93) © Ad.. 206

Donald O'Connor, Vittorio de Sica.
Noelle Adam

Bashful Elephant (..).. OD . .6201
Molly Mack, Buddy Baer

©Prisoner of the Iron Mask

(80) © Ad.. 701

Michael Lemoine, Wandisa Guida

Twist Around the Clock

(83) M .616

Chubby Checker, Dion, the Marcels,
Vicki Spencer

©The Hellions (..) D..

Richard Todd, Anne Aubrey

Murder She Said (87) .. My. .208
Margaret Rutherford, Arthur
Kennedy

Hitler ( . . ) BiD

Richard Basehart, Maria Emo

©Light in the Piazza

(105) © D .207

Olivia de Havilland, Ii. Brazzi,

G. Hamilton, Y. Mimieux

©Four Horsemen of the

Apocalypse ( . . ) © D. .209

Glenn Ford, Ingrid Thuiin,

Charles Boyer, Lee .1. Cobb

PARAMOUNT | U

©One-Eyed Jacks (141) OD .6014
Marlon Brando. Karl Malden,
Katy .Inrado. Pina Pcllicer

©Love in a
(88) © . .
Tommy Sands.

Goldfish Bowl
C/M . .6018

Fabian, Jan Sterling

JUNE-JULY-AUGUST
SJ©The Pleasore of His

Company (1141 CD.. 6017

Fred Astaire, Debbie Reynolds

©The Ladies Man (96) . .C..6017
Jerry Lewis, Helen Traubel

©On the Double (92) ® C. .6016

Danny Kaye. Dana Wynter

©Blood and Roses (74) ® D..6101
Mel Ferrer, Annette Vadim,

Elsa Martinelli

Man-Trap (95) D. 6102

Jeffrey Hunter, Stella Btereaa,
Darld Janssen

©Breakfast at Tiffany’s

015)

Audrey Hepburn, George

CD. -6103
Peppard

©Blue Hawaii (101) ® C/M.. 6105

Elvis Presley, Joan Blackman,

Angela Lansbury

The Errand Boy (92) . . .C. .6105
Jerry Lewis. Brian Donlevy

Hey. Let’s Twist! (80) M..6108

Joey Dee and the Starliters,

Teddy Randazzo, Kay Armen

Too Late Blues (100) . . . . D . .6109

Robby Darin, Stella Stevens

©Summer and Smoke

(118) ® D..6107

Laurence Harvey, Geraldine Page

BOXOFFICE BookinGuide :: Jan. 15, 1962

JULY I AUGUST I SEPTEMBER I OCTOBER I NOVEMBER I DECEMBER J JANUARY I FEBRUARY

FEATURE CHART

Th« key te totters amd eoi»bl«*<rfte«s thereof indicating story type: (Ad) Adventure Drama; (Ae) Action
Drama; (An) Animated-Action; (C) Comedy; (CD) Comedy-Drama; (Cr) Crime Drama; (DM) Drama
with Music; (Doe) Documentary; (D) Drama; (F) Fantasy; (FC) Farce-Comedy; (Ho) Horror Drama; (Hi)
Historical Drama; (M) Musical; (My) Mystery; (OD) Outdoor Drama; (SF) Science-Fiction; (W) Western

20TH-FOX

UNITED ARTISTS

©Return to Peyton Place

(122) © D 126

Carol Lynley. Eleanor Parker.

Jeff Chandler. Tuesday Weld
The Right Approach

(92) © D/M.. 127

Frankie Vaughan. Juliet Prowse.
Martha Hyer. Gary Crosby
©The Big Show (113) © Ad . 123 i
Esther Williams, Cliff Robertson, |
David Nelson |

A Matter of Morals (90).. D. 6108
Maj-Britt Nilsson. Patrick
O’Neal. Eva Dahl bark
The Young Savages (103) .. D .6114
Burt Lancaster, Shelley Winters,
Dina Merrill
The Gambler Wore a

Gun (67) W..6109

Jim Davis. Merry Anders

Gun Fight (62) W. .6113

James Brown, Joan Staley

UNIVERSAL-INT L s U WARNER BROS.

Battle at Bloody Beach

(60) © At.. 128

A. Murphy. G. Crosby, D. Michaels

©Wild in the Country

(114) © J? 7 ;} 29

E. Presley, II. Lange, T. Meld

©Snow White and the Three

Stooges (107) © C. .130

Carol Helss. Stooges

©Misty (92) © 0D..131

David Ladd, Arthur O'Connell

©Voyage to the Bottom of

the Sea (105) © ... Ad. .133
Walter Pidgeon, Joan Fontaine,
Barbara Eden, Frankie Avalon

The Silent Call (63) D. .119

Roger Mobley, David McLean,

Gail Russell

©Marines. Let’s Go (104) © C. .137
David Hedison, Tom Tryon,

Linda Hutchins

©The Big Gamble (100) © D..134
Stephen Boyd. Juliette Greco.
David Wayne

©Francis of Assisi (105) © D..132
Bradford Dillman, Dolores Hart,
Stuart Whitman

©September Storm (90) . Ad . .139
Joanne Dru, Mark Stevens
(35mm release)

20.00 Eyes (61) © Cr. 124

G. Nelson. M. Anders, J. Brown

©Upstairs and Downstairs

(100) C. .125

Michael Craig, M. Demongeot

Snake Woman (68) ... Ho. .6112

John McCarthy, Susan Travers

©Dr. Blood's Coffin (92) Ho. .6111
Kieron Moore, Hazel Court

©Revolt of the Slaves

(100) © Ad.. 6117

Rhonda Fleming, Lang Jeffries

©By Love Possessed (116)

Panavision D..6119

Lana Turner, Efrem Zimballst jr.
The Last Time I Saw Archie

(98) C. .6118

Robert Mitchum, Jack Webb
When the Clock Strikes

(72) My.. 6116

James Brown, Merry Anders
The Naked Edge (102) My.. 6120
Gary Cooper, Deborah Kerr

Goodbye Again (120) ...D..612S

Ingrid Bergman, Yves Montand.
Anthony Perkins

The Cat Burglar (65) ..Ac.. 6121
Gregg Palmer, June Kenney

Teenage Millionaire (84)

(partly in color) ... .C/M . .6126
Jimmy Clanton, Zasu Pitts,

Rocky Graztano

©Posse From Hell (89) W.. 6112

Audie Murphy, John Saxon,
Zohra Lamport
©The Pharaoh’s Woman

(88) © Ad. 6113

Linda Cristal, John Drew
Barrymore

©(Me Rex (40) Featurette. .6114
Rex (dog star), Billy Hughes.
William Foster

©Romanoff and Juliet

(112) C..6106

P. Ustinor, 3. Dee, J. Gavin
©Curse of the Werewolf

(91) Ho.. 6115

Clifford Evans, Yvonne Romain
The Shadow of the

Cat (79) Ho.. 6116

Barbara Shelley, Andre Morell
©The Last Sunset (112) 0D..6117
Rock Hudson, Kirk Dougins,
Dorothy Malone, Joseph Cotten

Trouble in the Sky (76) . Ac. .6118
Michael Craig. Elizabeth Seal

Q©Tammy Tell Me True

(97) CD 6119

Sandra Dee, John Gavin

Blast of Silence (77) . D..6120
Allen Baron, Molly McCarthy

©The Steel Claw (96) Ac.. 012

George Montgomery. Charito Luna

COMING

The Fabulous World of

Jules Verne (81) .. .Ad . 013

Ernest Revere. Louis Locke

©Bimbo the Great (87) . .Ad. .014

Charles Holm, Mary Ann Shields

©Parrish (137) D..015

Troy Donahue, Claudette Colbert,
Karl Malden, Connie Stevens

©Fanny (133) D/M.. 016

Leslie Caron, Maurice Chevalier,
Charles Boyer. Horst Buchholz

The Hustler (134) © . ...D..136
P. Newman, P. Laurie, J. Gleason

Seven Women From Hell

(88) © Ac.. 140

Patricia Owens, Denise Darcel,
Cesar Romero, John Kerr

©Pirates of Tortuga

(97) © Ad.. 135

Ken 8cott, Leticia Roman

©The Comancheros (107)

John Wayne, Stuart Whitman

©The Purple Hills (60) © Ac.. 142
Gene Nelson, Joanna Barnes,

Kent Taylor

©The Two Little Bears

(81) © F/M..143

Brenda Lee, Eddie Albert,

Jane Wyatt, Jimmy Boyd

©The Second Time Around

(99) © C. .144

Debbie Reynolds, Steve Forrest,
Andy Griffith, Thelma Ritter,

Juliet Prowse, Ken Scott

©Bachelor Flat (91) ©. C..201

Terry-Thomas, Tuesday Weld.
Richard Beymer, Celeste Holm

Madison Avenue (94) © ..D..202
Dana Andrews, Eleanor Parker,
Eddie Albert, Jeanne Crain

©Tender Is the Night

(146) © D 203

Jennifer Jones, Jason Robards jr.,
Joan Fontaine, Tom Ewell

You Have to Run Fast

(71) Ac.. 6122

Craig Hill Elaine Edwards
Three on a Spree (83) . . .C. .6123
Jack Watling, Carole Lesley
l^The Young Doctors (102) D. .6128
Fredric March, Ben Gazzara,
Ina Balin, Dick Clark
©Exodus (212)

Pana/n 70 D..6129

P. Newman, E. M Saint, 8. Mlneo

The Flight That Disappeared

(72) SF. . 6129

Boy Who Caught a

Crook (72) D..6127

Craig Hill, Paula Raymond
Town Without Pity (105) .. D . .6135
Kirk Douglas, Christine Kaufman
Secret of Deep Harbor

(70) Ac.. 6130

Explosive Generation (90) D..6134
Season of Passion (92) ..D..6133
A. Baxter, E. Borgnlne, J. Mills

Paris Blues (98) D..6131

Paul Newman, Joanne Woodward

©X-15 (112) ® D. .6137

Charles Bronson, Brad Dexter

Dead to the World (89) Ac.. 6202
Rudy Talton, Jana Pearce

Gun Street (67) W. .6136

James Brown, Jean Willes

©Pocketful of Miracles

(137) CD.. 6204

G. Ford, B. Davis, H. Lange

Judgment at Nuremberg

(189) D..6206

S. Tracy, B. Lancaster, R. Widmark,
M. Dietrich, M. Clift, J. Garland
(pre-release)

One. Two. Three (108) ® C . 6208
James Cagney, Horst Buchholz,
Arlene Francis, Pamela Tiffin

Mary Had a Little (79) . . C . . 6203

Agnes Laurent, John Bentley

Something Wild (112) . D..6210

Carroll Baker, Ralph Meeker

Happy Thieves (88) D. .6209

Rex Harrison, Rita Hayworth

©Sergeants 3 (. .) ® . .OD.
Frank Sinatra, Dean Martin

©Come September

(112) © C. .6121

Rock Hudson, Gina Lollobrigida,
Sandra Dee. Bobby Darin

©Backstreet (107) . ...D..S201
Susan Hayward, John Gavin

The Sergeant Was a

Lady (72) C..6202

Martin West, Venetia Stevenson,
Bill Williams

^©Flower Drum Song

(133) © M . .6203

Nancy Kwan, James Shigeta,
Miyoshi Umeki
(pre-release)

©Spartacus (193) Super-

Technirama 70 D..6204

Kirk Douglas, Sir Laurence Olivier,
Jean Simmons. Tony Curtis, Peter
Ustinov (regular release)

©World by Night

(103) Doc.. 151

A tour of world-famed night spots

Claudelle Inglish (99) . . . D . .155
Diane McBain, Arthur Kennedy,
Will Hutchins, Constance Ford

©Splendor in the Grass

(124) D..154

Natalie Wood. Warren Beatty,

Pat Hingle, Audrey Christie

©Susan Slade (116) D..157

Troy Donahue, Connie Stevens,
Dorothy McGuire, Lloyd Nolan

The Mask (83) D..156

Depth-Dimension

Paul Stevens, Claudette Nevins

©The Roman Spring of

Mrs. Stone (103) D..159

Vivien Leigh, Warren Beatty

Dirk Bogarde, John Mills,

Mylene Demongeot

Rosalind Russell, Aloe Guinness

ALLIED ARTISTS

The Big Wave Ad..

Sessue Hayakawa

Billy Budd D..

Peter Ustinor, Robert Ryan

Howard Keel, Nicole Maurey

Reprieve ... D . .

Ben Gazzara, Stuart Whitman

AMERICAN-INT'L

Burn, Witch, Burn Ho..

Janet Blair. Peter Cushing

Warriors Three Ac..

Jack Palance, Giovanna Ralli

COLUMBIA

Anthony Quinn, Silvana Mangano,
Jack Palance, Ernest Borgnlne

Walk on the Wild Side D..

Laurence Harvey, Capucine,

Anne Baxter, Jane Fonda

13 West Street D . .

Alan Ladd, Rod Steiger

The Notorious Landlady C. .

Jack Lemmon, Kim Novak,

Fred Astaire

Advise and Consent D . .

Charles Laughton, Henry Fonda,
Walter Pidgeon, Gene Tierney

David Niven, Alberto Sordl,
Michael Wilding

MGM

(Ultra Panavision-70) ...Ad..
Marlon Brando, Trevor Howard,
Hugh Griffith. Tarita
iS©King of Kings ® ....Bib D..
Jeffrey Hunter, Siobhan McKenna

©Jumbo M..

Doris Day, Stephen Boyd,

Jimmy Durante

All Fall Down (...) D..211

Eva Marie Saint, Warren Beatty,
Karl Malden, Angela Lansbury

PARAMOUNT

Yul Brynner, Madlyn Rhue

©Hatari! Ad..

John Wayne, Red Buttons
Hell Is for Heroes (..) ..D..6111
Steve McQueen, Bobby Darin
Fess Parker, Bob Newhart

©My Geisha C..

Shirley MacLaine. Yves Montand,
Rob’t Cummings, Edw G. Robinson
©Siege of Syracuse (100) Ad. .6110
Rossano Brazzi, Tina Louise

Brush Fire (..) D..6112

John Ireland, Jo Morrow,

Everett Sloane

William Holden, Lilli Palmer

20TH-FOX

UNITED ARTISTS

Basil Rathbone, Estelle Wlnwood

Birdman of Alcatraz D..

Burt Lancaster. Karl Malden
The Children’s Hour (107) D..6211
Audrey Hepburn, Shirley MacLaine,
James Gamer

Phaedra D .

Melina Mercouri, Tony Perkins

UNIVERSAL-INT'L

©Cape Fear D..

Gregory Peck, Polly Bergen

The Outsider D..

Tony Curtis, Jas. Franciscos

Gena Rowlands

Freud BID..

Montgomery Clift, Susannah York,
Susan Koliner

Audio Murphy, Joan O’Brien

WARNER BROS.

Jeff Chandler. Ty Hardin

Robert Preston. Shirley Jones

Pete- Brock Peggy McCay

The Couch (100) D..160

Shirley Knight, Grant Williams

Malaga (96) Ad 161

Trevor Howard. Dorothy Dandridge,
Edmund Purdom

BOXOFFICE BookinGuide :: Jan. 15, 1962

FEATURE CHART

Short subjects, listed by company, in or- mm mm m Km mm mm mi

der of release. Running time follows title. WT MlJ BE SB g g BB M

Date is national release month. Color and MB u\ B M B mB BA Bm B

process as specified. * "" ** M *0 98 r V B 1 B

MISCELLANEOUS

rrod.

No.

Rel.

Date

Prod

No.

Rel.

Date

Prod.

No.

Rel.

Date

AIDART

Cold Wind in August, A

(80) Aug 61

Lola Albright, Scott Marlowe,
Herschcl Bernardi

BUENA VISTA

tuiThe Absent-Minded Professor

(97) C . May 61

Fred MacMuiray, Nancy Olson,
Keenan Wynn, Tommy Kirk

(123) C. Jul 61

North (73) Ad.. Jul 61

Bay Bo'.ger, Tommy Sands,

Annette, Ed Wynn
CONTINENTAL
Saturday Night and Sunday

Morning (90) D.. Apr 61

Albert Finney, Shirley Ann Field
The Long and the Short and

the Tall (102) D . Sep 61

Laurence Haney, Richard Todd
The Pure Hell of St. Trinian's

(94) C.. Sep 61

Joyce Grenfell, Cecil Parker,

George Cole

Rod Steiger, Maria ScheU,

Stuart Whitman

©Call Me Genius (105) C.. Oct 61
Tony Hancock, George Sanders
Never Let Go (..) . . . . D . . Nov 61
Peter Sellers, Richard Todd,
Elizabeth Sellars
View From the Bridge, A

(. .) Jan 61

Carol Lawrence. Raf Vallone,
Maureen Stapleton
CREST FILMS

Lex Barker. Chelo Alonso
FILMGROUP

Haunted Sea (60) HoC..Sep61
Antony Carbone, Betsy Jones-More-
land

The Devil’s Partner (75) Ac Sep 61
Ed Nelson, Jean Allison, Edgar
Buchanan

Mijanou Bardot, Gerard Landry

GOVERNOR

Carry On, Nurse (89) C..

Kenneth Connor, Shirley Eaton

Carry On, Constable (86) C . Feb 61
Ken Courioi . Leslie Phillips
KINGSLEY-UNION
Risk, The (81) ...D. ..Oct 61

Question 7 (110) D. . Apr 61

Michael Gvynn, Margarete Jahnen
The Sand Castle (70) ..F.. Sep 61
Barry and Laurie Cardwell
OMAT

(100) D May 61

Jack Palance, Maria Felix
Never Take Candy From a

Stranger (82) D . Oct 61

Jean Carter, Felix Aylmer

(90) Panavis : on . W Jul 61

Maureen O’Hara, Brian Keith,

Steve Cochran. Chill Wills

RCIP

The Devil’s Commandment

Ginnna Maria Canale. Carlo
D’Angelo. Charles Fawcett

Mark of the Devil (73) D . Jan 61
Maria Felix, Crox Alvarado
SHOWCORPORATION
Two-Way Stretch (87) C . Apr 61
Peter Sellers. Wilfrid Hvde White

Double Bunk (92) S.. Nov 61

Ian Carmichael, Janette Scott,
Sidney James

(74) F . Dec 61

(Puppets; voices of Old Vic Players)
UNITED PRODUCERS (UPRO)
Black Pit of Dr. M.

(72) Ho.. Mar 61

Ralph Bertrand. Gaston Santos

Siege of Sidney Street

(93) Ad . . Mar 61

(70) Ad . May 61

Marian Michael, Adrian Hoven

Jet Storm (91) D.. Sep 61

Richard Attenborough, Stanley
Baker, Diane Cilento, Mai
Zetterling

VALIANT-VITALITE

It Takes a Thief (94) D . . Feb 61
Jayne Mansfield, Anthony Quayle
Hitler’s Executioners

(78) Doc . Jun 61

WOOLNER BROS.

Mala Powers, Marshall Thompson

COLUMBIA

ASSORTED & COMEDY FAVORITES
(Reissues)

5436 Man or Mouse (18) ■ Jun 61

6421 Hot Heir (16>/ 2 ) Sep 61

6431 Caught on the Bounce

(15>/ 2 ) Oct 61

6432 Pleasure Treasure

(16) Nov 61

6433 Dance, Dunce, Dance

aS'/z) Dec 61

6422 Parlor, Bedroom and

Wrath (16) Nov 61

5423 Flung by a Fling (16).. Dec 61

6434 The Fire Chaser (16) Jan 62

CANDID MICROPHONE
(Reissues)

5555 No. 5, Ser. 2 (11) . . Mar 61

5556 No. 6, Ser. 2 (10»/ 2 ) . .Jul 61
6551 No. 1, Series 3 (11) Sep 61

5552 No. 2, Series 3 (10) Nov 61

5553 No. 3, Series 3 (10!/ 2 ) Jan 62

COLOR SPECIALS
5502 Rooftops of New York

(10) May 61

COLOR FAVORITES
(Technicolor Reissues)

5613 The Jaywalker (6/ 2 ) May 61

5614 Topsy Turkey (SA) . .Jun 61

5615 Punchy de Leon (S/ 2 ) . . Jul 61

6601 Red Riding Hood Rides

Again (7) Sep 61

6602 The Music Fluke (7) Sep 61
5603 Imagination (6^ 2 ) ....Oct 61
6604 The Miner’s Daughter

( 6 / 2 ) Nov 61

5605 Grape-Nutty (6) Nov 61

5606 The Popcorn Story

( 61 / 2 ) Dec 61

6607 Cat-Tastrophy (6) . . . .Jain 62
5608 Wonder Gloves (7) . . . Jan 62

FILM NOVELTIES
(Reissues)

5835 Community Sings

No. 1, Ser. 13 (10) Mar 61

5854 Yukon Canada (10)... Apr 61

LOOPY de LOOP
(Color Cartoons)

5707 Fee Fie Foes (S/ 2 ) Jun 61

5708 Zoo Is Company (S/ 2 ) Jul-61

6701 Catch Meow (&/ 2 ) Sep 61

6702 Kooky Loopy (7) Oct 61

6703 Loopy’s Hare-Do (7) . . Dec 61

6704 Bungle Uncle (7) Jan 62

MR. MAGOO REISSUES
(Technicolor)

5757 Capt. Outrageous (7) May 61

5758 Magoo Goes West (6) . Jul 61

6751 Safety Spin (7) Sep 61

6752 Calling Dr. Magoo

6753 Magoo’s Masterpiece (7) Nov 61

6754 Magoo Beats the Heat

SPECIAL COLOR FEATURETTES

5442 Splendors of Paris

(19) May 61

5443 Wonderful Greece (19) Jun-61

6441 1 manes of Luangua

(18) Oct 61

6442 Wonderful Israel (19).. Dec 61

SERIALS

(15 Chapter-Reissues)

4160 King of the Congo . Jun 60
5120 Son of Geronimo .... Nov 60
5140 The Great Adventures of

Captain Kidd Mar 61

5160 Cody of the Pony

Express Aug 61

STOOGE COMEDIES
(Reissues)

5405 Knutsy Knights

(17'/ 2 ) Feb 61

5406 Shot in the Frontier

(16) Apr 61

5407 Scotched in Scotland

(15>/ 2 ) May 61

5408 Fling in the Ring

(16) Jul 61

6401 Quiz Whiz (15>/ 2 ) Sep 61

6402 Fifi Blows Her Top

(W/ 2 ) Oct 61

6403 Pies and Guys (16>/ 2 ) Nov 61

6404 Sweet and Hot (17).. Jan 62

THRILLS OF MUSIC
(Reissues)

5953 Skitch Henderson & His

Orchestra (10) Feb 61

5954 Boyd Raeburn & His

Orchestra (11) May 61

WORLD OF SPORTS

5802 Hip Shooters (9</ 2 ) . . Feb 61

5803 Water-Sports Champs

(10) Apr 61

5804 Dogs Afield (10!/ 2 ) . . . . Jun 61
6801 Aqua Ski-Birds (9*/ 2 ) ..Oct 61

M-G-M

GOLD MEDAL REPRINTS
(Technicolor Reissues)

All 1.75-1 Ratio
Tom and Jerrys

W261 Pet Peeve (7) Sep 60

W262 Mice Follies (7) Sep 60

W263 Touche Pussy Cat (7) Sep 60
W265 Southbound Duckling

(7) Sep 60

W266 Neopolitan Mouse (7) Sep 60
W267 Pup on a Picnic (7) Sep 60
W269 Downhearted Duckling

(7) Sep 60

W272 Mouse for Sale (7).. Sep 60
W273 Cat Fishin’ (8) . ..Sep 60

W274 Part Time Pal (8).. Sep 60
W275 Cat Concerto (7) ...Sep 60
W276 Dr. Jekyl and Mr.

Mouse (7) Sep 60

(1961-62)

W361 Switchin’ Kitten (9) Sep 61
W362 Down and Outing (7) Oct 61
W363 Greek to Me-ow (..) Dec 61

PARAMOUNT
COLOR SPECIALS
(2 Reels)

B20-1 Carnival in Quebec

(16) Sep 60

B20-2 Boats a-Poppin’ (18)

(Anamorphic) Sep 60

B20-3 Lifeline to Hong Kong

(17) Anamorphic Apr 61

B21-1 Spring in Scandinavia

(15) Nov 61

B21-2 Fireaway, Story of a

Trotter ( . . ) Nov 61

MODERN MADCAPS
(Technicolor)

M20-4 Phantom Moustacher

(6) Jan 61

M20-5 Kid From Mars (6) Mar 61
M20-6 Mighty Termite (6) Jun 61

M21-1 Plot Sickens (..) Oct 61

M21-2 Crumley Cogwheel (..) Oct 61
M21-3 Popcorn &

Politics ( . . ) Nov 61

N0VELT00N

(Technicolor)

P20-3 The Lion’s Busy (6).. Mar 61
P20-4 Goodie the Gremlin

(6) Apr 61

P20-5 Alvin’s Solo Flight (7) Apr 61
P20-6 Hound About That (6) Jun 61

621-1 Munro (9) Sep 61

P21-2 Turtle Scoup (..).... Sep 61
P21-3 Kozmo Goes to

School <L.) Nov 61

POPEYE CHAMPIONS
E21-1 Fireman’s Brawl (..) Sep 61
E21-2 Toreadorable (..) ..Sep 61
E21-3 Popeye, the Ace of

Space ( . . ) Sep 61

E21-4 Shaving Muggs ( . . ) Sep 61
E21-4 Taxi Turvey (..) ..Sep 61
E21-6 Floor Flusher ( . . ) Sep 61
SPORTS ILLUSTRATED
(Anamorphic — Color — 1 Reel)
D20-4 Ten Pin Tour (9).... Apr 61

D20-5 Speedway (10) May 61

CARTOOR SPECIAL
A-21 Abner the Baseball 2 Reel

( 12 V 2 ) Sep 61

TRAVELRAMA
(Anamorphic-Color-1 Reel)
T20-1 Pcrpoise Posse (10) . . Mar 61

20th CENTURY-FOX
MOVIETONE CINEMASCOPES
(Color, unless specified)

7103 Adventure in Rhythm

(9) Apr 61

7104 Assignment Egypt (9) May 61

7106 Assignment Singapore

& Malaya (10) Jun 61

7107 Hills of Assisi (10) . . . .Jul 61

7108 Assignment Pakistan (9) Aug 61

7109 Ski New Horizons (10) Sep 61

7110 Assignment India (9) Oct 61

7111 Assignment South

Africa (10) Nov 61

7112 Sound of Arizona (10) Dec 61
7201 Sport Fishing Family

Style (8) Jan 62

TERRYTOON 2-D’s
All Ratios — Color

5122 Cat Alarm (6) Feb 61

5123 Drum Roll (7) Mar 61

5124 Railroaded to Fame

(7) May 61

5125 The First Fast Mall

(6) May 61

5126 Sappy New Year (7) Dec 61
5221 Klondike Strike

Out (7) Jan 62

TERRYTOON CINEMASCOPES

5107 Unsung Hero (6) Jul 61

5108 Banana Binge (6) . .Jul 61

5109 Meat. Drink and Be

Merry (6) Aug 61

5110 Really Big Act (6) ...Sep 61

5111 Clown Jewels (6) ..Oct 61

5112 Tree Spree (6) . . Nov 61

5201 Honorable House

Cat (6) Jan 62

TERRYTOONS

(Color-CinemaScope)

5101 Night Life in Tokyo

(6) Feb 61

5102 So-Sorry, Pussycat (6) Mar 61

5103 Son of Hashimoto (7) Apr 61

5104 Strange Companion (6) Apr 61

5105 Honorable Cat Story (6) Jun 61
5105 Crossing the Delaware

(6) Jun 61

UNIVERSAL-INT’L
COLOR PARADE

4171 Valley of the Mekong

(9) Nov 60

4172 The Lion City (9) . . Dec 60

4173 Treasure of Istanbul (9) Jan 61

(8) Apr 61

WALTER LANTZ CARTUNES
(Technicolor .. Can be projected In
the Aanmorphic process, 2.35-1)
(All run between 6 and 7 miin.)

4111 Southern Fried Hospitality
(Woody Woodpecker) ....Nov 60

4112 Fowled Up Fa'ron

(Woody Woodpecker) .... Dec 60

4113 Poop Deck Pirate

(Woody Woodpecker) . . . Jan 61

4114 Rough and Tumble-Weed Jan 61

4115 Eggnapper Feb 61

4116 The Bird Who Came to
Dinner (W. Woodpecker) Mar 61

4117 Gabby’s Diner (Woody

Woodpecker) Mar 61

4118 Papoose on the Loose. . Apr 61

4119 Clash and Carry . . .Apr 61
WALTER LANTZ REISSUES

(Co'or Cartunes Can he projected
i" the A"amorrlrc process. 2.35-1)

4131 He'ter Shelter (6) .... Nov 60

4132 Witch Craftv (6) ... Dec 60

4133 Private Eve Pooch (6) Jan 61

4134 Bedtime Bedlam (6) . Feb 61

4135 Squareshootin’ Square

(6) Mar 61

4136 Bronco Busters (6).... Apr 61

SPECIAL

4104 FoothaU Highlights of

1960 (10) Dec 60

2-REEL COLOR SPECIALS
4101 Pacific Paradise (14) Nov 60

WARNER BROS.

BLUE RIBBON HIT PARADE
(Technicolor Reissues — 7 min.)

8305 Little Beau Pepe . . . .Dec 60

8306 Tweet Tweet Tweety. . Dec 60

8307 Bunny Hugged Jan 61

8308 Wearing of the Grin . . Feb 61

8309 Beep Deep Mar 61

8310 Rabbit Fire Apr 61

8311 Feed the Kitty Apr 61

8312 The Lion's Busy May 61

8313 Thumb Fun Jun 61

8314 Corn Plastered Jul 61

8315 Kiddin' the Kitty Aug 61

8316 Ballot Bex Bunny ...Apg61

9301 A Hound for Trouble Sep 61

9302 Strife With Father .... Sep 61

9303 The Grey Hounded Hare Oct 61

9304 Leohorn Swaggled Nov 61

BUGS BUNNY SPECIALS

(Technicolor — 7 min.)

8722 Lighter Than Hare . . . . Dec 60

8723 The Abominable Snow

Rabbit May 61

8724 Compressed Hare Jul 61

9721 Prince Violent Sep 61

MERRIE MELODIES
LOONEY TOONS
(Technicolor — 7 min.)

8704 Doggone People Nov 60

8705 High Note Dec 60

8706 Cannery Woe Jan 61

8707 Zip ’n Snort Jan 61

8708 Hoppy Daze Feh 61

8709 Mouse on 57th St Feb 61

8710 Strangled Engs Mar 61

8711 Birds of a Father ...Apr 61

8712 D'Finht'n’ Ones Apr61

8713 Lickety-Snlat Jun 61

8714 A Scent of the

Matterhorn Jun 61

8715 Re'-el Without Caws. Jul 61

8716 The Pied Piper of

Oiiadaltwe Aug 61

9701 Daffv’s Inn Trouhle. . . .Sep 61

9702 What’s My Lion? Oct 61

9703 Been Prepared Nov 61

WORLD-WIDE ADVENTURE

SPECIALS
(Color Reissues)

(Twn-Reel)

8002 The Man From New

Orleans (20) Mar 61

8005 Wi-ter Wonders (18) . .Jul 61
9001 Where the Trade Winds

Play (17) Oct 61

(One Reel)

8 C 02 Alrine Champions (10) Feb 61

8403 Kings of the Rockies

(10) Apr 61

8404 Grandad of Races (10) May 61

8505 Snow Frolics (9) lun 61

8506 Hawaiian Snorts (9) . Aug 61
9501 This Sporting World

(10) Nov 61

FOREIGN LANGUAGE

FRANCE

Breathless (891 3- 6-61

Jean-Paui Belmondo, Jeaa Seberg

Beau Serge (87) 9-25-61

(UMPO) . Gerard Blain
Crime of M. Lange,

The (78) 11-13-61

(Brandon) . . (Jean Renoir classic)

Frantic (90) 8-28-61

(Times) . .Jeanne Moreau, M. Ronet

Joker. The (86) 10- 2-61

(Lopert) . .J-P Cassel, A. Aimee

(Times) . .Madeleine Robinson,
Jean-Paul Belmondo
Love Game, The (85) .... 2-13-61
(F-A-W) . .Jean Pierre Cassel
Modigliani of Montparnasse

(110) 3- 6-61

(Cont’l) . .Gerard Phillipe
Rules of the Game (104) 4-17-61

(Janus) . .Jean Renoir
GERMANY

Roses for the Prosecutor

(91) 11-13-61

(American-Metropolitan) . .

W. Giller, Ingrid Von Bergen
The Girl of the Moors (87) 9- 4-61
(Casino) . .Claus Holm. Maria Emo

GREECE

Antigone (93) 9-25-61

(Norma) .. Irene Papas

Moussitsa (75) 6- 5-61

(Greek Pictures)...). Vouyouklaki

ITALY

From a Roman Balcony

(84) 11-27-61

(Cont'l) . .Jean Sorel, Lea Massari
Girl With a Suitcase (108) 10-16-61
(Ellis) . .Claudia Cardinale

La Oolce Vita (175) 4-24-61

(Astor) . . Marcedo Mastroiauni,
Anita Ekberg. Anouk Aimee
L’Avventura (145) . 6- 5-61

(Janus) . .Monica Vitti, Gabriele
Ferzettt. Lea Massari

Man Who Wagged His Tail, The

(91) 10- 9-61

(Cont’l) . .Peter Ustinov, PabUto
Calvo (Span-lang; Eng. titles)
Rocco and His Brothers

(175) 7-17-61

(Astor)-.A. Delon, A. Girardot
Two Women (105) .... 6-19-61

(Embassy) .. Sophia Loren,

Jean-Paul Belmondo

Wild Love (86) 5- 1-61

(Ellis) . .Franko Interlenghi

JAPAN

Rice (118) 9-18-61

(SR)-.Yuko Moshiznkf
Road to Eternity (181) . . 2-27-61
(Beverly) . .Tatsuya Nakadai

POLAND

Ashes and Diamonds (105) 9- 4-61
(Janus).. Z. Cybulski
Eve Wants to Sleep (93) 10- 9-61
(Harrison) .. Barbara Lass

Kanal (96) 11- 6-61

(Kingsley) . .T. Izewska, T. Janczar
SWEDEN

Devil’s Eye, The (90) 12-18-61

(Janus) . .Jarl Kulle, Bibi
Andersson

Secrets of Women (114) . . 9-18-61
(Janus) .. Eva Dahlbeck, Gunnar
Bjornstrand, Maj-Brltt Nilsson
Unmarried Mothers (79) . . 3-13-61
(President) . .E. Etiberg, B. Logart
USSR.

Eallad of a Soldier (89) .. 1-3161
(Kingsley) . . Vladimir Ivashov.
Shanna Prokhorenko (also Eng-
dubbed)

Fate of a Man (10O) . . 8-28-61

(UA) . . Sergei Bondarchuk
Summer to Remember, A

(80) 12-18-61

(Kingsley) .. B. Barkjatov, S.
Bondarchuk

BOXOFFICE BookinGuide :: Jan. 15, 1962

Write —

XH IB I TOR HAS HIS SAY

A B 0 U T PICTURES**™

ALLIED ARTISTS

Dondi ( AA' — David Janssen, Potti Page, David
Kcry. Man oh man, how our folks loved this pro-
gram. Little David Kory could star in a series of
p.ctures in this Dondi character and the boxoffice
would respond just like old times. We need child
stars. Come on, Allied Artists, don't throw away this
chance to get the industry back in the groove. And
this "Dondi" strip is a dandy. — Carl W. Veseth, Villa
Theatre, Malta, Mont. Pop. 2,100.

BUENA VISTA

Jungle Cat (BV) — Documentary. Here's a good
little True Life Adventure from Mr. Disney — in color
— that played to good business on a two-day run
here. By all means ploy it. Played Thurs., Fri.
Weather: Good. — B. L. Brown jr.. Arcade Theatre,
Sandersville, Ga. Pop. 5,424.

COLUMBIA

Five Golden Hours (Col) — Ernie Kovacs, Cyd Cha-
risse, George Sanders. A good picture that needs ex-
ploitation. Business off We like Ernie. Played Wed.,
Thurs., Fri. Weather: Cold. — P. B. Friedman, Grand
Theatre, Lancaster, Ky. Pop. 3,000.

Gidget Goes Howciian (Col) — James Darren, Michael
Callan, Deborah Walley. Here's a beautiful little pic-
ture in gorgeous rainbow colors that drew to better

Nice Going , Cousin !

"Two Rode Together" from Columbia is a
very good western in beautiful color. This rela-
tive of mine — Richard Widmark — does a good
job in all of his pictures. I am in the process of
writing "The Widmark Story" which has its be-
ginning almost a hundred years ago when
Grandpa Widmark settled north of Minneapolis,
Minn., in the timber country and built a home
for his family cut of logs from the land.

B. WIDMARK BERGLUND

Trail Theatre,

New Town, N. D.

than average business. Brought in the families. Co-
lumbia's fair terms on this one helped us to make
a little. Don't fail to give it your best date. Played
Sun through Wed. Weather: Cool. — B. L. Brown jr.,
Arcade Theatre, Sandersville, Ga. Pop. 5,424.

Song Without End (Col) — Dirk Bogarde, Capucine,
Genevieve Page. Glorious! Beautiful! Supurb! Breath-
taking! Unprofitable (in a small town, at any rate).
— ’Don Stott, Southwind Theatre, Solomons, Md.
Pop. 950.

METRO-GOLDWYN-MAYER

Morgan the Pirate (MGM) — Steve Reeves, Valerie
Le Grange, Chelo Alonso. This is one of the best
pirate films made in the last few years. Steve
Reeves is a great draw and of course color and
'Scope mean as much. Business was fair for a mid-
week change. Would recommend playing, but on
Fri. -Sat. — Steve Durbin, Garold Shoemaker, Ford
Theatre, Griggsville, III. Pop 1,200.

Ring of Fire (MGM) — David Janssen, Joyce Taylor,
Frank Gorshin. This one's a real spine-tingler! Busi-
ness poor. Everyone who comes enjoys this type
immensely. Problem: how to get 'em to come. —

Don Stott, Southwind Theatre, Solomons, Md. Pop.
950.

Thunder of Drums, A (MGM) — Richard Boone,
George Hamilton, Luana Patten. An excellent outdoor
odventure Could use a little more action, our pa-
trons said. Duane Eddy was built up big in the ad-
vert. sing as a newcomer, but where was he? He made
just a couple of oppearances. I believe a screen new-
corr.ir should have more of a major role so the pub-
lic can get a good look at him and will know who he
is when his next attraction comes around for screen-
ing. The photography was good and color was gor-
geous. Did averoge over Thanksgiving with no walk-
outs, but o few disappointed patrons. Played Wed.
to Sat. Weather: Rainy. — Kenn Spaulding, asst, mgr.,
Bijou Theatre, Morrisville, Vt. Pop. 3,450.

PARAMOUNT

Ladies Man, The (Para) — Jerry Lewis, Helen Trou-
bel, Pat Stanley. Nothing but S-T-U-P-l-D in my
opinion. Lowest gross of any Jerry Lewis yet.
Strictly for the low mentality. Played Sun Mon
Tues. Weather: Cold. — Rod B. Hartman, Roosevelt
Theatre, Grand Coulee, Wash. Pop. 1,100.

On the Double (Para) — Danny Kaye, Dana Wynter
Diana Dcrs. Very good picture that did poor business’
Danny Kaye is always very good, but his pictures
da poor business in Flomaton. Played Thurs., Fri.,
Sot. S. T. Jackson, Jackson Theatre, Flomaton
Ala. Pop. 1,480.

Pleasure of His Company, The (Pora) — Fred Astaire,
Debbie Reynolds, Tab Hunter. Too aristocratic for
small towns. Very slow moving for my patrons. Debbie
seemed out of place in this. Why Paramount charged
such a very high rental on it. I'll never know.
Barely made expenses both nights. Played Sun., Mon.

Weather: Nice. — James Hardy, Shoals Theatre, Shoals,
Ind. Pop. 1,555.

World of Suzie Wong, The (Para)— William Holden,
Nancy Kwan, Sylvia Syms. Here is an interesting
movie which is almost like taking a sight-seeing
tour through Hong Kong. It is in beautiful color and
should do business anywhere. Played Sun., Mon.,
Tues. Weather: Cold. — 'B. Berglund, Trail Theatre,

New Town, N. O. Pop. 1,200.

20th CENTURY-FOX

Days of Thrills and Laughter (20th-Fox) — Silent
film compilation. To the teenagers this looks silly,
consequently it did not do business for me. Had
lots of drive-outs on it. Old-timers certainly will
relish it and get a huge laugh from these old scenes.
I did myself as I remember Arbuckle and the others
of that era. Played Fri., Sat. Weather: Good. — I.
Roche, Starlite Drive-In, Chipley, Fla. Pop. 3,000.

Fiend Who Walked the West, The (20th-Fox) — Hugh
O'Brian, Robert Evans, Dolores Michaels. This oldie
was called horror drama, but is not much of any-
thing. Had quite a few turn out for it Friday night,
but not too many Saturday night (which is my big
night and if I lose this I have lost the week). My
folks seemed to think it was fair. — F. L. Murray,
Strand Theatre, Spiritwood, Sask. Pop. 500.

Wizard of Baghdad, The (20th-Fox) — Dick Shawn,
Diane Baker, Barry Coe. Our Christmas Matinee kid-
dies loved this — and we received letters of thanks
from many of them praising the program. We are
eagerly awaiting "Wizard in Sherwood Forest."
Weather: Nice. — Carl Veseth, Villa Theatre, Malta,
Mont. Pop. 2,100.

UNITED ARTISTS

Ey Love Possessed (UA) — Lana Turner, Efrem Zim-
balist jr., Jason Robards jr. A very good heavy drama
which should appeal to your patrons who like this
type. Excellent acting by all. Zimbalist proves to be
a fine actor on the movie screen. I hope he makes
more movies and less you-know-what. Played Sun.,
Mon. Weather: Very cold. — James Hardy, Shoals

Theatre, Shoals, Ind. Pop. 1,555.

Magnificent Seven, The (UA) — Yul Brynner, Steve
McQueen, Horst BuChholz. A very excellent picture,
but westerns are not popular at all now with my
patrons. Played Sun., Mon. — S. T. Jackson, Jackson
Theatre, Flomaton, Ala. Pop. 1,480.

Never on Sunday (Lopert-UA) — Melina Mercouri,
Jules Dessin. Although this did good business for
us, it's still not the type of picture that will help
us get the much needed families back into our the-
atres. Be careful on this one. Played Sun., Mon.,
Tues. Weather: Fair. — B. L. Brown jr., Arcade Theatre,
Sandersville, Ga. Pop. 5,424.

Revolt of the Slaves (UA) — -Rhonda Fleming, Lang
Jeffries, Gino Cervi. Here is a picture we bought
right and which was more than worth what we paid
for it. Dubbing was only fair but the picture was
really good for its type. Play it. It should make ex-
cellent double feature material. Try and play it up
a little. Played Wed., Thurs., — Steve Durbin, Gar-
old Shoemaker, Ford Theatre, Griggsville, III. Pop.
1 , 200 .

UNIVERSAL-INTERNATIONAL

Come September (U-l) — 'Rock Hudson, Gina Lollo-
brigida, Sandra Dee, Bobby Darin. A thoroughly en-
joyable movie from start to finish. Did little better
than average, should have done much more. How-
ever, when the small fellow has to wait three months,
the customers have either seen them or forgotten
'em. As I see it, this hurts distributor and exhibitor
alike. When will they wake up? Would like to hear
from other exhibitors in this regard. Played Sun.,
Mon., Tues. — Bill Roth, Palace Theatre, Gallatin,
Tenn. Pop. 7,857.

Ole Rex (U-l) — This is the first "dog" I've ever
run starring a dog. Forty minutes of amateur night
in the daytime. Actually corny. Good mats, trailer and

School Tiein Helped

AlP's "The Pit and the Pendulum" is a very
good horror movie — o relief from the usual poor
quality horror movies. Bookmarks in school
helped very much on our Wed. to Sat. play-
date.

KENYON "Kl" KILLINGER

Orr Theatre,

Orrville, Ohio.

paper, but that's all. More walkouts than I've had
in a long time! Doubled with "Marines, Let's Go!"
from 20fh-Fox. Played Thurs., Fri., Sat. Weather:
Blizzard. — Rod B. Hartman, Roosevelt Theatre, Grand
Coulee, Wash. Pop. 1,100.

Red Sundown (U-l) — Rory Calhoun, Martha Hyer,
Dean Jagger. Brought this wonderful 1956 color
western back for a Saturday date. Why doesn't Martha
Hyer make more westerns? Weather: Warm. — P. B.
Friedman, Grand Theatre, Lancaster, Ky. Pop. 3,000.

WARNER BROS.

Claudelle Inglish (WB) — Diane McBain, Arthur
Kennedy, Will Hutchins. Did better than most on our
Wed., Thurs., Fri. change. Weather: Cool. — P. B.
Friedman, Grand Theatre, Lancaster, Ky. Pop. 3,000.

YOUR REPORT OF THE PICTURE YOU
HAVE JUST PLAYED FOR THE
GUIDANCE OF FELLOW EXHIBITORS

— Right Now

TO:

The Exhibitor Has His Say

BOXOFFICE, 825 Van Brunt Blvd..

Kansas City 24, Mo.

Title Company

Comment

Days oi Week Played

Weather

Title Company

Comment

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Weather

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City State

BOXOFFICE BookinGuide :: Jan. 15, 1962

Opinions on Current Productions

Feature reviews

Symbol © denotes color; © CinemaScope; ® Vista Vision; (§) Superscope; ® Ponovision; g Regolscope; ® Techniromo. For story synopsis on each picture, see reverse side.

Tender Is the Night F 2 R S£ @ Dram3 Q

20th-Fox (203) 146 Minutes Rel. Feb. '62

oppc The combination of Jennifer Jones (her first picture since ]\

aifs ' "A Farewell to Arms" in 1958), Joan Fontaine and the up- Uh |
and-coming Jason Robards jr. in an intensely dramatic F.

Scott Fitzgerald tale of the 1920s, which has been given the
utmost in lavish production values and superbly photo-
raphed French Riviera backgrounds, cannot fail to have a
built-in appeal, especially to the ladies, and become a box-
office hit. Like so many of Fitzgerald's novels, this deals with
the playboy set composed of handsome men and beautiful
women, where wealth, excessive drinking and idleness lead
to broken dreams and unhappiness, and Ivan Moffat's screen-
play follows this pattern expertly. Although the picture is
over-long, Henry King's direction maintains interest through-
out and he captures the '20s atmosphere splendidly. After
only two previous pictures, Robards' perceptive portrayal of
the dedicated psych : atrist whose life is ruined by wealth
• hould put him in he top star bracket, while Miss Fontaine
has rarely looked better or given a finer performance. Tom
Ewell has a cynical, semi-serious role for a change; Paul
Lukas and Cesare Danova are also outstanding and Jill St.

John adds pulchritude. Miss Jones is generally excellent.
Produced by Henry T. Weinstein.

Jennifer Jones, Jaron Robards jr., Joan Fontaine, Tom
Ewell, Paul Lukas, Jill St. John, Cesare Danova.

/ Bombed Pearl Harbor F XL2ZI

Parade Releasing 98 Minutes Rel. Dec. '61

Conveying realism to sometimes astonishing degrees, this
should find a ready and waiting market, particularly among
the male patrons. This is a Parade Releasing Organization
release of a Toho Co. production, with English dialog. The
Widescope and Technico'or packaging enable the Japanese
filmmakers to dramatically convey a vastness of the great
reaches of the Pacific Ocean, at the same time pinpointing
the very human reactions of a cluster of earnest young men
imbued with the spirit of a Japanese victory over the United a
States in those turbulent days immediately following the :>d
sneak attack on Pearl Harbor. The role of the Japanese task ' i_
force commander is entrusted to Toshiro Mifune, that
country's leading character actor, and he brings to the role
cm admirably restrained delineation. Yosuke Natsuki, as a
flight leader, and Misa Uehara, the girl he leaves behind,
provide the brief romantic moments. In the main, this is a
man's action show, the footage covering the days before
Dec. 7, 1941, and going through the U.S. show of retribution
at Midway Island. Shue Matsubayashi directed with a firm
awareness of the historical impact. Mifune was accorded top
acting honors at the recent Venice International Film Festival.

Yosuke Natsuki, Toshiro Mifune, Koji Tsuruta, Misa
Uehara, Aiko Mimasu, Jun Tazaki.

White Slavery D “ tary

Joseph Brenner Associates 64 Minutes Rel. Dec. '61

This footage, released by the Tangier police department
and subsequently edited by Exploit Films Inc., is a forceful
depiction of the inner workings of the almost unbelievable
complexities of a giant white slavery ring functioning
throughout the Mediterranean, a subject, of course, strictly
for the adult trade and the action-adventure-liking segments
of same, at that. Photographer Michael Steel, who had the
admittedly steel nerve to ingratiate himself into the higher
echelon of said illegal women-traders, narrates his own ad-
venture and while much of the ensuing episodes could well
be classified as smacking of more fiction than fact, simply
because of its fantastic carryings-on, the overall effect is one
of headline-commanding attention. The press should be
alerted to the truth-stranger-than-fiction. approach intelli-
gently tackled by Steel, and the fact that the Tangier au-
thorities gave the footage their blessing. Steel's footage is of
the no-frills, strictly business content and he's to be acco-

DKIk for undertaking a mission of certain danger. The film .

'JbU concludes on a hopeful enough note as Steel’s footage is

used to convict the hard-hearted chaps who engineered one 1
of the most unbelievable trading episodes in contemporary
history.

Narrated by Michael Steel.

Light in the Piazza F 2 Ra 5 5 ° 1

MGM (616) 101 Minutes Rel. Jan. ’b2

— Using a plot situation probably never before attempted on
Dri- the screen, this picturization of the 1961 best-selling novelette
a by Elizabeth Spencer is unusual and provocative fare, su-
perbly photographed in CinemaScope and Metrocolor on
actual locations in Florence and Rome. With Olivia de
Havilland, in one of her rare screen appearances, and the
handsome, fortyish Rossano Brazzi to draw the adult fans
and George Hamilton, a favorite with the teenagers, this
Arthur Freed production should have a wide appeal. The
story tells how the protective mother of a beautiful 26-year-
old daughter who, because of a childhood accident, has the
mentality of a young adolescent, first tries to prevent the
girl's romance and later decides to encourage it. Under Guy
Green's able direction, this strange plot holds interest even if
a few incidents are unbelievable and the "happy" ending
will leave patrons wondering what will eventually happen to
a retarded wife. Miss de Havilland looks beautiful and wins
great sympathy for the worried, confused mother; Hamilton
is remarkably convincing as a lovelorn Italian youth; and
Brazzi and Barry Sullivan also do well in their roles, but it
is the enchanting Yvette Mimieux who scores most heavily as
the child-like daughter. Otto Heller's camera work is striking.

Olivia de Havilland, Rossano Brazzi, Yvette Mimieux.

George Hamilton, Barry Sullivan, Isabel Dean.

Follow That Horse F “li """"

Seven Arts 80 Minutes Rel. Dec. '61

Within an admirably trim 80 minutes some fine British
creative talents provide a satirical glimpse of the "small
people," civil servants, caught up in the more humorous
aspects of international spying and subsequent unraveling.
While much that transpires in this Thomas Clyde production,
directed by Alan Bromlv, can be reasonably predicted by
the intelligentsia and art theatre patrons for whom it's ob-
viously ear-marked, there are sufficient comedy ingredients
to keep all concerned very much satisfied. David Tomlinson
; qJ 0 *' essays the top role of the befuddled, yet well-meaning chap,
r- who inadvertently sets off a wild dhase for atomic spies in
his native England, in the process meeting and mating with
the lithesome Mary Peach, whose dad conveniently main-
tains race horse facilities near a top-secret atomic project.
The two leads are handsome indeed and cavort in the best
tradition of British farce. Cyril Shaps has some shrewd
moments as the scientist who would defect to other lands.
Alfred Shaughnessy's screenplay keeps matters bubbling
along, some of the better-contrived facets concerned with
the horse who eats highly secret documents, wins a race
and then is sold at auction.

David Tomlinson, Cecil Parker, Richard Wattis, Cyril
Shaps. Mary Peach, Dora Bryan, Raymond Huntley.

Shangri-La A F,nu f

Joseph Brenner Associates 63 Minutes Rel. Sept. '61

Strictly adult novelty fare, this ought to coast along on
word-of-mouth alone once the populace is alerted to con-
tents of the admittedly flimsily concocted yarn of the female-
struct zoo-keeper, known as Sammy, who follows two gals
haphazardly, to say the least, while vacationing, to Wash-
ington, D.C., and Silver Spring, Fla., eventually winding up
in a nudist camp billed incongruously, perhaps, as Shangri-
La (hence the title). The sight-gags (and they are used in
this modestly budgeted effort in profusion) and the ap-
pearance of many an undraped damsel won't appeal to
the discriminating; the approach, conduct and premise, if
such can be charitably described of the filmmakers' intent,
is geared to the level of novelty-seekers and, depending on
the local situations, the element plunking down the dollars
at the boxoffice apparently won't be overly concerned with
logic. To its everlasting credit, some off-beat is lazily in-
corporated — use of beauty display through kaleidoscopic
Aj. lenses at one instance. As far as acting is concerned, the
awards will be sadly placed if anybody (no cast credits
available) rates even a feeble accolade. If anything, there
seems dominant a sense of hurry up and get it over, a de-
gree of effectiveness implying inferior preproduction plan-
ning.

The reviews on these pages may be filed for future reference in any of the following ways: (1) in any standard three-rina
loose-leaf binder; (2) individually, by company, in any standard 3x5 card Index file; or (3) in the BOXOFFICE PICTURE
GUIDE three-ring, pocket-size binder. The latter, including a year's supply of booking and daily business record sheets,
may be obtained from Associated Publications, 825 Von Brunt Blvd., Kansas City 24, Mo., for $1.00, postage paid.

2596 BOXOFFICE BookinGuide : : Jan. 15, 1962

FEATURE REVIEWS

Story Synopsis; Exploits; Adlines for Newspapers and Programs

THE STORY: "Light in the Piazza" (MGM)

Olivia de Havilland, an attractive American traveling in
Italy with her beautiful young daughter, Yvette Mimieux,
finds they are being pursued by a handsome Italian youth, v '° n!l s
George Hamilton. Realizing that the boy is attracted to .| m o?
Yvette, who seems to respond to his attentions, Olivia tries
to tell the boy's father, Rossano Brazzi, that her daughter,
who acts like a child-like adolescent, is actually 26 with the
mentality of a ten-year-old due to a childhood accident. She
then wire Yvette's father, Barry Sullivan, who comes to
Florence forbids the romance to continue and threatens to
send Yvette to an institution in America. Thinking only of
her daughter's future happiness with a carefree boy who will
always provide her with Italian servants to care for her, she
consents to Hamilton's offer of marriage. When Brazzi learns
the girl's real age, he protests but finally gives in and Olivia
locks on as her daughter is wed.

EXPLOITIPS:

Elizabeth Spencer's novelette won the McGraw-Hill Fic-
tion Award and was one of 1 96 1 's best-sellers for many
months thus suggesting bookstore tieups for window dis-
plays. The Italian Tourists Office and Italian ship and air-
lines also will cooperate with displays.

CATCHLINES:

A Beautiful Love Tale of the Romantic City of Florence . . .
Elizabeth Spencer’s Best-Selling Novel of Romance Actually
Filmed in Beautiful Florence.

THE STORY: "Tender Is the Night" (20th-Fox)

In the 1920s on the French Riviera, Jason Robards jr. and his
wife, Jennifer Jones, throw a lavish party for other visiting
're^is wecf ithy Americans. During the party Jennifer gets jealous of /ho
-lkinr Jill St. John, a beautiful movie star, and Jason recalls the \ a*

time he first met his wife when she was a mental patient at
a Zurich hospital where he was on the staff. Jason falls in
love with Jennifer, and her wealthy sister, Joan Fontaine,
offers him a huge check to marry and take care of her. The
money brings about a change in Robards and, even after
two children are born to them, they continue a life of idleness
in. European pleasure spots. Finally, Jason has the oppor-
tunity to rejoin the staff of the hospital where he first met
Jennifer, but he learns that they want his money more than
his services. Dejected at this, Jason and Jennifer continue
their drinking and this leads to a bar-room brawl and news
headlines. Robards' only chance of salvation is to return
to America and he leaves Jennifer forever.

EXPLOITIPS:

The four stars, Jennifer Jones, in her first film since "A
Farewell to Arms," Jason Robards jr., who recently scored
in “By Love Possessed," Joan Fontaine and Tom Ewell, are
the big selling angle. Make book tieups.

CATCHLINES:

Filmed Against the Moon-Swept Beaches of the Riviera,
the Beauty of the Alps and the Bistros of Paris ... A Dis-
tinguished Film in the Boxoffice Tradition of "The Hustler."

THE STORY: "Follow That Horse" (Seven Arts)

Happy-go-lucky civil servant David Tomlinson, always
with an appreciative eye for gals, is assigned to escort Cyril
Shaps, famed scientist, to a London conference from a highly
secret project. Tomlinson's attention is diverted by Mary
Peach, daughter of a race horse owner who lives near the
project. The scientist is employed by spies and trying to
escape from England; he gets into the horse van being driven
to the track by Mary instead of the one used by the spies for
his anticipated getaway. He drops the highly secret docu-
ments into the hay and the horse eats them. After the horse
wins the race, it is sold at auction. Learning of this, Tomlin-
son feverishly bids against the spies for the horse, but since ^ h
his boss, Cecil Parker, won't provide proper authorization, he tie r
loses the horre. Tomlinson and Mary give chase as the spies
try to leave the country; at an abandoned airport, they rescue
the horse, the documents are found safe and the spies are
arrested.

EXPLOITIPS:

Get scientific and sports writers from the local dailies to
delve, tongue-in-cheek, into this topic for their readers. Send
an appropriately bannered horse through downtown traffic.

CATCHLINES:

A Bubbly Bit of British Bumbling! . . . Dave Tomlinson in
Woo and Woe! The Outcome Is Something You'll Never

Guess!

THE STORY: “I Bombed Pearl Harbor" (Parade)

On Dec. 1, 1941, a Japanese fleet of 30 warships sails to-
ward Hawaii. Military leaders have worked out a plan of
attack in event of failure of top-level negotiations under way
in Washington. Admiral Toshiro Mifune receives the antici-
pated code telegram, reading "Climb Mt. Nitaka," which
means proceed according to plan. Flight leaders Koji
Tsuruta and Yosuke Natsuki, after the attack, radio the task
force that the surprise effort was tremendously successful.
Natsuki, on leave, is reluctant to marry Misa Uehara, think-
ing his love will make him unworthy as a naval officer. In
ensuing, boldly conceived South Pacific action, Natsuki gets
ic j' - gt the feeling that the Japanese fleet is invincible. But before v St.

-lictur he can marry Misa, he gets an urgent report-back from the Vfl'

L fleet; he tells Misa to live in his house until he returns. In
the battle of Midway, U.S. forces strike unexpected dev-
astating blows. Mifune and ship's captain Jun Tazaki lash
themselves to the compass, preparing to go down to their
fate. The carrier is finally sunk by Japanese destroyers on
fleet command. Natsuki and others who sailed aboard the
once-proud craft, give a final salute.

EXPLOITIPS:

Promote newspaper contest geared to theme, "Where were
YOU on Dec. 7, 1941?" Contact American Legion and VFW.

CATCHLINES:

For the First Time the Story of the Pacific War — Through
the Eyes of the Enemyl Real! Authentic! Raw!

THE STORY: "Shangri-La" (Brenner)

Sammy, the emaciated zoo-keeper, tells his pal, lim, about
his vacation, during which time he followed two young
g rls to a resort, later turning out to be a nudes' gathering
point. As much as everyone seems to be enjoying them-
selves, he's too modest to disrobe. He follows the same
female duo, now to Washington, where he treks wearily aftei
them as they take the elevator to the top of the Washington
Monument (he takes the stairs). Still later, in Silver Springs,

Fla., he looks for a mermaid in a glass-bottom boat and
battles an alligator. He winds up in a nature park called
Camp Shangri-La, where he engrossedly watches families
happily at play. He serves as master-of-ceremonies in a
beauty competition, some of the country's loveliest girls
participatirg Ironically, several of the losers turn out to be
the girls he had been following; the slightly addle-pated
registrar rips a button off his chest reading, "Nudist First
Class," preparatory to expelling Sammy. The story con-
vinces Jim of the lure of the great unveiling; he embarks on
a similar trek.

EXPLOITIPS:

Exploitation will depend on individual situations, with each f '< lL
exhibitor determining how far to go on the nudist angle. v-O—

CATCHLINES:

Ah, the Lure of the Great Unveiling! A Simple Country

Trek — and Not So Simple Femmes!

THE STORY: “White Slavery" (Brenner)

“White Slavery" has been edited from the footage shot by
Michael Steel and later used as evidence to convict a major
white slave gang. The story opens as Steel joins the gang
in Tangier. Gradually gaining their confidence he's allowed
to accompany various key members on their missions to pro-
cure girls throughout the Mediterranean. His camera records
the fantastic slave market that exists under a Tangier cafe.
He flies with a renegade American pilot to bring a girl back
from the south Spanish coast and, finally, he's allowed to
accompany two of the gang's smoothest operators to Madrid,
where he’s able to photograph the intricate workings of a
theatrical agency, in reality a front for illegal activity. Ac-
companying a load of girls back to Tangier, Steel and the
gang narrowly escape capture by a Spanish gunboat, only
to be trapped on the Tangier beach. Steel is able to prove
his innocence, and his film is used to convict the gang at
trial.

EXPLOITIPS:

In larger towns, police interviews on the white slave traffic
are a possibility. Fact that the Tangier police cooperated in
'• the filming should be heavily exploited as some guarantee
i V]|hou of authenticity. Blowups of stills from picture should make
dramatic lobby pieces.

CATCHLINES:

Filmed in the Teeming Tangier Auction Market Where
Women's Bodies Are Bait!

BOXOFFICE BookinGuide :: Jan. 15. 1962

RATES: 20c per word, minimum $2.00, cash with copy. Four consecutive insertions lor price
of three. CLOSING DATE: Monday noon preceding publication date. Send copy and
• answers to Box Numbers to BOXOFFICE, 825 Van Brunt Blvd., Kansas City 24, Mo. °

CLEDRinG HOUSE

HELP WANTED

REPRESENTATIVE WANTED. If you can

Help wanted, manager. Large midwest
city theatre. Overall experience required.
Good chance for advancement. State
qualifications. Boxoffice, 9396.

POSITIONS WANTED

Lost Lease . . . Will Travel. Manager,
operator, experience all phases of theatre
operation and maintenance. Young, ag-
gressive and bondable. Boxoffice 9395.

Experienced manager, will furnish ref-
erences upon request. Boxoffice 9401.

Wanted: Operator and wife for boxof-
fice for a large drive-in theatre, good
salary. Call or write Roxy Theatre, Mun-
day, Texas.

DRIVE-IN THEATRE
CONSTRUCTION

75 Theatres Since 1951. Planning, design
and construction. Turn-Key or part. Tim-
ber screen tower perfectionist. Certified
Engineer certificate furnished enabling low
rate insurance. Oscar May Outdoor Dis-
play, 518 Tierney Rd., Fort Worth, Texas.

THE ODDS

ARE

*17,905 to 1

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BOXOFFICE

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*Net paid circulation of
BOXOFFICE is 17,905

BOXOFFICE :: January 15, 1962

GENERAL EQUIPMENT— USED

Simplex Four Star sound system, dual
amplitier. Excellent. Out of 3,000-seat the-
atre, $495. Richard DeToto, 550 South
Salma St., Syracuse, N. Y.

Pair rear shutter Simplex projectors with
lenses, Royal Master soundheads, ampli-
fier and stage speaker, four point stands
with magazines, 30 amp arc lamps with
rectifiers, rewinds, splicer, reels. $465.00.
P. O. Box 171, Saskatoon, Sask., Canada.

AUTOMATIC CHANGEOVERS. (less
switch). Pair, $24.95; 2,000' Film cabinets,
new Stermnade, per section, $1.95; 3-

speed Nonsync Turntables, $14.95; 16"

upper Simplex magazines, $4.95. S.O.S.,
602 W. 52nd, New York 19.

GENERAL EQUIPMENT— NEW

SUNPROOF, RAINPROOF MASONITE
MARQUEE LETTERS, fit all signs. Sample
free. Black or red. 4"-40c; 8"-60c; 10 '-75c;
12' '-$1 .00; 14 ' '-$1.50; 16 "-$1.75; 17"-$2.00;

24 '-$3.00 (10% discount 100 letters or over
$c0.00 list). S.O.S., 602 W. 52nd, New
York 19.

DRIVE-IN THEATRE EQUIPMENT

ARVIN ELECTRIC-IN-CAR HEATERS.

Brand new, 8 per ctn. Model T-90-1, 220
volt, 500 watts, 10 ft. cord. Price, $9.75
each. Ontario Equipment Co., Toledo 1,
Ohio.

Drive-In Theatre Tickets! 100,000 1x2"
special printed roll tickets, $37.95. Send
for samples of our special printed stub rod
tickets for drive-ins. Safe, distinctive, pri-
vate, easy to check. Kansas City Ticket
Co., Dept. 10, 109 W. 18th St. (Filmrow),
Kansas City 8, Mo.

EQUIPMENT WANTED

TOP PRICES PAID ... For X-L, Century
and DeVry projectors, CinemaScope
lenses, etc. What have you? Star Cinema
Supply, 621 West 55th Street, New York 19.

Simplex Powers, lenses, soundheads,
rectifiers, etc. Describe plus price. Richard
DeToto, 550 South Salina St., Syracuse,
N. Y. Also safety films.

Reward, leads that materialize for Photo
Players, Seeburg, Wurlitzer, other makes
and rolls. Steve Lanick, 625 Excelsior St.,
Pittsburgh, Pa.

Wanted: Used 16mm-35mm portable

sound equipment. McCartney Proj. Rental
& Service, 4491 Mozart Avenue, Dayton
24, Ohio.

EQUIPMENT REPAIR SERVICE

Broken Reflector? Repair with Gcrtorhide
— relax. Easy; guaranteed! $2.95 postpaid.
Gatorhide, Box 71, Joplin, Missouri.

SOUND-PROJECTION SERVICE
MANUAL

An Authentic Guide to Better Sound-
Projection — Trout's Simplified Sound <S
Projection Repair Manual. Trouble-Shoot-
ing Charts — Repair data on projectors, arc
lamps, motors, theatre sound systems;
data on amplifiers, soundheads and speak-
ers. Helpful schematics and diagrams.
Data on lenses and screens, for indoor
and drive-in theatres. Many helpful tips
on servicing 16mm projectors. Additional
servicing sheets sent free all during 1962.
In loose-leaf binder. For exhibitors, pro-
jectionists, repairmen. Written by a Prac-
tical Engineer; 25 years experience. Only
$7.50 prepaid; Cash or P. O. No CODs.
Order Today. Avoid sudden breakdowns.
Wesley Trout, Engineer, Box 575, Enid,
Oklahoma.

THEATRES FOR SALE

West Coast theatres lor sale. Write for
list. Theatre Exchange Company, 260
Kearny Street, San Francisco 8, Cahtornia.

Southern New Mexico, 200-car drive-in
and 317-seat indoor. Only theatres town of
3, LUO. $25,000 includes real estate, both
theatres. Easy terms. Boxoffice 9402.

3C0-seat indoor, 242-car drive-in. East-
ern Kentucky county seat. John Hicks,
Box 393, Hindman, Kentucky.

For Sale: Theatre in South Dakota. A
money maker. Boxoffice 9399.

For Sale: Drive-in theatre in Southern
Idaho For details write Box 910, Black-
foot, Idaho.

City suburban theatre with 650 seats in
fine Portland neighborhood. $8,000 will
handle. Theatre Exchange, 5724 S. E. Mon-
roe, Portland 22, Oregon.

THEATRES WANTED

Wanted: To buy or lease drive-in the-
atres, 500-car capacity or larger. Boxoffice

Wanted: To lease or buy indoor theatres,
metropolitan areas, population at least
75,000. Contact William Berger, Metro-
politan Hotel, Cincinnati, Ohio.

Wanted to Buy or Lease drive-in the-
atres in Ohio, 500-car capacity or larger.
Cash deal. Boxoffice 9394.

THEATRE SEATING

SEAT RENOVATING: Neat, fast, reason-
able, anywhere. Sewed combination seat
covers. Service Seating Co., 1525 West
Edsel Ford, Detroit 8, Michigan. Tyler
8-9481, Texas 4-2738.

Theatre Chairs, International, Bodiform,
plywood. Lone Star Seating, Box 1734,
Dallas.

350 American Seating Chairs, steel Bodi-
fonm, good shape. Also small town the-
atre for family operation. Uptown The-
atre, Muscatine, la.

BUSINESS STIMULATORS

Bingo, more action! $4.50 M cards. Other
games available, on, ofi screen. Novelty
Games Co., 106 Rogers Ave., Brooklyn,
N. Y.

Build attendance with real Hawaiian
orchids. Few cents each. Write Flowers of
Hawaii, 670 S. Lafayette Place, Los An-
geles 5, Calif.

Bingo Cards. Die cut 1, 75-500 combina-
tions. 1, 100-200 combinations. Can be

used for KENO, $4.50 per M. Premium
Products, 346 West 44th St., New York
36, N. Y.

MISCELLANEOUS

Winter Chloride Soil Removal: M&M

floor soap saves labor. Order 5 gallon pail
$11.25, FOB WMTIC. M&M Chemical
Company, Willimantic, Conn.

To buy or lease theatre or theatres in
town of 5,000 or more population and no
opposition. Boxoffice 9400.

POPCORN MACHINES

Popcorn machines, all makes. Complete
new popping units, $185.00 ex. Replace-
ment kettles, all machines. 120 So. Hoi-
sted, Chicago, 111.

INTERMISSION TAPES

WEEKLY TAPE SERVICE: Intermission

tapes that sparkle . . . guaranteed to
sell . . . customized . . . free sample
Commercial Sound Service, P. O. Box 5,
Sulphur Springs, Texas.

PERSONALS

Gentlemen would like to correspond with
lady. Boxoffice, 9397.

Handy Subscription Order Form

CLIP & MAIL TODAY

☆

BOXOFFICE:

825 Van Brunt Blvd., Kansas City 24, Mo.

Please enter my subscription to BOXOFFICE, 52 issues per year (13
ol which contain The MODERN THEATRE section).

□ $3.00 FOR 1 YEAR □ $5.00 FOR 2 YEARS □ $7.00 FOR 3 YEARS
□ Remittance Enclosed □ Send Invoice

THEATRE

STREET ADDRESS

TOWN STATE

NAME POSITION

IN ADVERTISING

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SUBSTITUTE ^

FOR GOOLT P* f

RESULTS.'

PACIFIC DRIVE- 1 ^ THEATRES CORP.

141 SO. ROBERTSON BLVD. • LOS ANGELES 48. CALIF.
Telephone CRestview 4-5347

January 2, 1962

Mr. Morris Schlozman
BOXOFFICE Magazine
825 Van Brunt Boulevard
Kansas City 24, Missouri

Dear Mr. Schlozman:

Our ad appearing under "Help Wanted" in BOXOFFICE
Magazine is to be discontinued with the next issue.

We have experienced splendid results from the ad and wish
you to bill us for the balance of our account.

Sincerely,

BanJza

Whether it is something you wish to SELL or BUY
BOXOFFICE presents your wants to by far
the greatest industry audience!

JANUARY 22, 1962

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IMPACT
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IT’S HAPPENING NOW!

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Theatre Owners of America says major film companies released an all-time low of 220 features in 1961.
Independent distributors claim at least 152 additional features were available during the year through
independent exchanges. A report on independent product, and problems faced by the buyer and seller
in this market appears in this issue on pages 20 and 21. Shown above are a number of press-
books and stills from current independent releases, to indicate variety of story material available.

COVER STORY.

How Short Is the
Product Shortage?

^ Pages 20, 21

Filmed in Florence
the city of love.

lie desires of a
beautiful girl
who has never

been denied anything
but the right to marry . . .
a boy who demands
her ... a mother
who hopes for her
. . . and the man
from whom her dark

secret had to
be kept

METRD-GOLDWYN-MAYER,

presents an ARTHUR, FREED PRODUCTION JlMM l MEj

AVAILABLE
FEBRUARY - MARCH
CONTACT YOUR
M-G-M BRANCH!

Every mother
wants in some
way a little
girl who never
grows up,

Out of her
mother’s sight
...right into
the arms of
a man!

“I too have been
very carefully
brought up. There
are moments
when I also have
regrets.”

starring

OLIVIA

ROSSANO YVETTE

GEORGE

and co-starring

BARRY

deHAVILLAND-BRAZZI-MIM

JULIUS J. EPSTEIN

BASED ON A STORY BY ELIZABETH SPENCER OIRECTED BY

. X • HAMILTON - SULL

Cinemascope, .METRO COLOR

UNIVERSAL HAS A WINNER

ALL THE WAY'.”

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THE NATIONAL FILM WEEKLY

Published in Nine Sectional Edition;

BEN SHLYEN

Editor-in-Chief and Publisher

DONALD M. MERSEREAU, Associate
Publisher & General Manoger
NATHAN COHEN .. Executive Editor

JESSE SHLYEN Managing Editor

HUGH FRAZE Field Editor

AL STEEN Eastern Editor

WILLIAM HEBERT. .Western Editor
I. L. THATCHER. .Equipment Editor
MORRIS SCHLOZMAN Business Mgr.

Publication Offices: 825 Van Brunt Blvd.
Kansas City 24. Mo. Nathan Cohen, Ex-
ecutive Bd;Dr; Jesse Shlyen, Managing
EMitor: Morris Schlozman, Business Man-
ager; Hugh Fraze, Field Editor ; 1. L.
Thatcher, Editor TTie Modem Theatre
Section. Telephone CHestnut 1-7777.
Editorial Offices: 1270 Sixth Ave., Rocke-
feller Center, New York 20, N. Y. Donald
M. Mersereau. Associate Publisher &
General Manager; A1 Steen, Eastern Edi-
tor. Telephone COlumbus 5-6370.

Central Offices: Editorial — 920 N. Mich-
igan Ave., Chicago 11. 111., Frances B.
Clow, Telephone superior 7-3972. Adver-
tising — 5809 North Lincoln, Louis Dldier
and Jack Broderick, Telephone LOngbeach
1-5284.

Western Offices: EMltorial and Film Adver-
tising — 6404 Hollywood Blvd., Hollywood
28, Calif. William Hebert, manager, Tele-
phone Hollywood 5-1186. Equipment and
Non-Film Advertising — 672 S. Lafayette
Park, Los Angeles. Calif. Bob Wett-
stein, manager. Telephone DUnkirk 8-2286.
London Office: Anthony Gruner, 1 Wood-
berry Way, Finchley, No. 12. Telephone
Hillside 6733.

The MODERN THEATRE Section Is In-
cluded In the first issue of each month.

Atlanta: Jean Mullis, P. 0. Bpi 1695.
Albany: J. S. Conners, 140 State St.
Baltimore: George Browning, 119 E.

25th St.

Boston: Guy Livingston, 80 Boylston,
Boston, Mass.

Charlotte: Blanche Carr, 301 8. Cburcb
Cincinnati: Frances Hanford, UNlversity

1- 7180.

Cleveland: W. Ward Marsh, Plain Dealer.
Columbus: Fred Oestreicber, 52% W.
North Broadway.

Dallas: Mable Guirran, 5927 Wlnton.
Denver: Bruce Marshall, 2881 8. Cherry

Way.

Des Moines: Pat Cooney. 2727 49th Bt.
Detroit: H F. Reves, 906 Fox Theatre
Bldg.. WOodward 2-1144.

Hartford: Allen M. Wldem, CH 9-8211.
Indianapolis: Norma Geragbty. 436 N. Il-
linois St.

Jacksonville: Robert Cornwall, 1199 Edge-
wood Ave

Memphis: Null Adams, 707 Spring 8t.
Miami: Martha Lummus, 622 N.E. 98 St.
Milwaukee: Wm. Nicbol, 2251 S. Layton.
Minneapolis: Don Lyons, 72 Glenwood.
New Orleans: Mrs. Jack Auslet. 2268%
St. Claude Ave.

Oklahoma City: 8am Brunk, 3416 N. Vir-
ginia.

Omaha: Irving Baker, 911 N. 51st St.
Philadelphia: A1 Zurawskl, The Bulletin.
Pittsburgh: R. F. Kllngensmlth, 516 Jean-
ette, Wilklnsburg, CHurchlll 1-2809.
Portland. Ore.: Arnold Marks. Journal.
Providence: Guy Langley, 388 Sayles St.
St. Louis: Joe & Joan Pollack. 733$
Shaftsbury, University City, PA 5-7181.
Salt Lake City: H. Pearson. Deseret News.
San EYanctsco: Dolores Barusch, 25 Tay-
lor St.. ORdway 3-4813; Advertising:
Jerry Nowell, 417 Market St., YUkon

2- 9537.

In Canada

Montreal: Room 314, 625 Belmont St..
Jules Larochelle.

St. John 43 Waterloo, 8am Babb.
Toronto: 2675 Bayvlew Ave., Wlllowdale,
Ont. W. Gladish.

Vancouver: 411 Lyric Theatre Bldg. 751
Granville St., Jack Droy
Winnipeg: 93 Albert St., Barney Brookler

Member Audit Bureau of Circulations

8econd Class postage paid at Kansas City,
Mo. 8eetlonal Edition, $3.00 per y«r
National Edition, $7.50.

JANUARY 2 2, 1962

Vol. 80 No. 1 4

IN THE PUBLIC INTEREST

N EWSPAPERS have been devoting more
space than usual to motion pictures,
some of it highly favorable and much — far too
much — unfavorable. On the positive side, there
are articles such as the one written by Alton
Cook, film critic for the New York World-Tele-
gram. Under the heading, “Movies Face Bonanza
’62,” across three columns, Mr. Cook set forth
a listing of some of the bigger pictures scheduled
for release in the ensuing year, stars featured in
them and other pertinent data.

On the negative side, there are those that took
just the opposite view, in many cases showing
an obvious “hate” of movies and berating them
in general. They went to the trouble of picking
out “the worst” movies and detailing what, in
their distorted minds, are the faults of those
films. This bitter pill might not be so hard to
take, if it were accompanied by a selection of
movies those critics liked and what they liked
about them. But they used the space allotted
them with a lop-sided, wrong-sided view. And,
all too often, these rashes occur in syndicated
columns. Fortunately, however, the local movie
critics, more often than not, present a fairer
view.

A further unbalancing of the scales is the con-
tinuing appearance in “Letters to the Editor”
columns of condemnations of films that are
designed for adult appeal. Whether inspired by
reformist organizations or sincere objections by
well-meaning parents, these attacks certainly take
a toll of theatre attendance. Each time a picture
is released that deals with what, to many, is so-
called “adult” subject matter, a new wave of such
letters begins to appear in the public prints.
Some of these take a constructive and under-
standing view, but these attitudes are rare.

Often, the blame is placed on exhibitors for
showing the so-called “objectionable” films.
And, frequently, exhibitors rebut these charges
with reasoned explanations of their position in
the matter through use of the same newspaper
columns. But the exhibitors can be greatly out-
numbered, when the newspapers will publish
ten letters of condemnation to their one in self-
defense.

Aside from what some newspapers will pub-
lish, there is the instance of one editor going far
out of the way to lambast the motion picture
industry. In addressing a convention of news-
papermen, the editor in question declared that
“movies are dirtier than ever” and exhorted his
listeners to “raise hell" about it. Yet, the hell-
rouser admitted to an exhibitor, who wrote him
a strong letter in defense of the industry, that he
hadn’t attended many movies in the last couple
of years. His reason: “1 became fed up with
bust measurements and sex-kittens.” He also
criticized movie advertising. But what about this
sort of thing in newspapers? Here’s what the
exhibitor said, in part, in his letter to the editor,
which surely will not be published in his paper:

"Are some of the ads ony more suggestive thon
the panty ads your paper carries? Or the ads for slips, bras-
sieres and other undergarments women wear? Perhaps you
have seen some of these displayed on the Jack Paar pro-
gram. You failed to mention this type of advertising to the
editors. I hove seen far more undraped women in depart-
ment store ads than I ever saw in a regular movie od in any
press sheet." And more:

"In your movie coverage, during your talk, were you really
not trying to solve your conscience? Do you actually think
the press is not guilty of playing up crime and sex and
sensational happenings for in excess of anything Hollywood
has ever turned out? You didn't caution your editor listeners
to go easy on those items. Neither did you tell them that
many movies reflected that which is published on the
front pages of their newspapers . . .

"I hope the press does raise hell about many things. And,
while they are at it, I hope they also praise a few things,
now and then, and when a family movie comes along, and
other fine films come along, how about a boost for those
films? . . .

"A majority of people in the movie business are good

citizens, good businessmen. So, Mr be careful

how you throw bricks; and remember you people of the
press live in glass houses."

That’s a fine rebuttal, but the necessity for
having to make it is regrettable. Perhaps it will
have a mollifying effect on the editor who had
caused it to be written. But what about those at
the press association convention whom he urged
to “raise hell” with the movies? If only one of
those takes up his suggestion, it could start a
chain reaction and a crusade that could become
widespread and hard to stop.

What can be done about the problem as a
whole?

The pat answer would be for the industry to
discontinue the making of the so-called “objec-
tionable” types of pictures. But, it must be re-
membered that when such pictures were not
being made, the industry still was being assailed
by an assortment of do-gooders and an un-
friendly press. True, some of the films that are
being complained of may have gone too far in
the growing-up process that the public — -and
hundreds of movie critics — asked for. Bunching
the release of such pictures had a tendency to
throw' the process out of perspective. We feel,
however, that time will adjust the pattern and
remove any disproportion that may now' exist.
Dealing with “mature” subject matter in pictures
was but a natural evolution and in keeping with
the mores and the change in conventions, just as
was the transition that has taken place in news-
paper publishing, literature and other communi-
cations media.

What is called for is an improvement in rela-
tions between the industry and the press and an
appreciation by the latter of the problems of the
former in endeavoring to meet what, largely, has
been an outgrowth of the public’s demand.

Some newspapers have shown an understand-
ing view of the situation, which has rendered a
service to their readers as well as to the industry.
More of that will, in the long run, be widely
beneficial. Meanwhile, this industry needs to do
more on its own behalf : Lessen, if not quit, going
to extremes; and show more good taste in its
advertising, as it already has begun to do in its
treatment of subject matter.

a prosperous
time for all

Something

Celebrate

ROBERT ROSSENS

Distinguished Adult Entertainmen

OnemaScooE COLOR by DE LUXE

_ DEBBIE J - ANDY ^

Reynolds Griffith

JACK CUMMINGS'

nrmaScOPE Around^

Produced by

Screenplay by

JAMES EDWARD GRANT a„< CLAIR HUFFAKER

Based on the novel by PAUL I. WELLMAN

r DARRYL F. ZAMUCK ^

prmitl ^

RODGERS l HAMMERSTEW'

THE KINGDOM OF
KILLERS IS ON THE
SCREEN!

co-starring

COLOR by DE LUXE

STUART INA

WHITMAN -BALIN

Madison Avenue Swingin' Along
The Two Little Bears Seven Women From Hell Pirates Of Tortuga
Francis Of Assisi September Storm The Big Gamble The Canadians
Marines, Let's Go Voyage To The Bottom Of The Sea Misty
Snow White And The Three Stooges Wild in The Country Can-Can
Battle At Bloody Beach The Big Show The Right Approach
Return To Peyton Place • The Fiercest Heart * AH Hands On Deck
The Trapp Family « The Millionairess Sanctuary Circle Of Deception
The Marriage-Go-Round © The Little Shepherd Of Kingdom Come

Shock,

CLAYTON

JACK

from

EXPERIENCE

THE

OIRECTOR

ROOM

TOP

ImLoeer&y

ScopE

BE FOREWARNED!

In your own interests see this
picture from the very beginning
to the mind-stunning end!

mm •

WILLIAM HOLDEN -CLIFTON WEBB

LEO McCAREY'S

ACE Re-Elects Frisch ;
Pledge Skouras Support

NEW YORK — The re-election of
Emanuel Frisch as chairman of American
Congress of Exhibitors and the passing of
a resolution praising Spyros P. Skouras for
his contributions to the industry and
urging exhibitors to back up his 20th an-
niversary celebration with playdates were
the highlights of a meeting of the ACE
executive committee here Wednesday (17).

It had been expected that definite infor-
mation on the status of A.C.E. Films, Inc.,
would result from the meeting, but S. H.
Fabian, chairman of the committee on
more production, merely reported that
progress was being made. An ACE spokes-
man told Boxoffice that no further data
could be given until a management team
had been selected and the necessary pro-
spectus submitted to the Securities and Ex-
change Commission. It was explained that
A.C.E. Films management must be included
in the prospectus and that one could not
go forward without the other. It was
learned that a management team will be
announced very shortly.

Harry Mandel, president of RKO The-
atres, reported that progress was being
made on the production of four short sub-
jects as a public relations project and that
details would be revealed in a few weeks.
William Forman, of Southern California
Theatre Owners Ass’n, reported that an
ACE subcommittee, consisting of Roy
Cooper and himself, had met with the
Screen Producers Guild on a “new faces”

THE ACE RESOLUTION

WHEREAS: 20th Century-Fox is

celebrating the 20th Anniversary of
Spyros Skouras as president of the
company with a global drive, and

WHEREAS : Spyros Skouras has

achieved international fame not only
as a world leader of our industry but
also as a man of imagination, pro-
phetic vision and rare business cour-
age in anticipating the future of the
motion picture, and

WHEREAS: he has never faltered in
his faith in the motion picture theatre
as the supreme medium for the pre-
sentation of the very finest in screen
entertainment, and

WHEREAS: he has heartened and
encouraged two generations of ex-
hibitors through the vicissitudes of in-
dustry change and transition, there-
fore

BE IT RESOLVED: that We, the
Executive Committee of the American
Congress of Exhibitors unanimously
call on every exhibitor in the United
States to demonstrate concretely his
admiration and appreciation of Spyros
Skouras’ leadership by booking Fox
pictures wherever possible and most
particularly during the current drive.
Do it with dates!

and public relations program which would
be turned over to COMPO for administra-
tion. Progress on the reestablishment of a
Children’s Film Library was reported by
Harry Goldberg of Stanley Warner
Theatres.

The Skouras resolution urged exhibitors
throughout the nation to show their ap-
preciation of Skouras’ leadership by book-
ing 20th-Fox pictures whenever possible,
especially during the anniversary drive.

Marshall Fine, president of Allied States
Ass’n, turned over checks amounting to
$5,000 to Sumner Redstone, cochairman of
the Joint Committee Against Pay TV, for
use in the campaign. The checks came
from two Allied units and Fine said more
would be forthcoming.

Attending were:

Max A. Cohen, president, Cinema Circuit Corp.;
Irving Dollinger, partner, Triangle-Liggett Theatre
Service; S. H. Fabian, president, Stanley Warner
Corp.; Marshall Fine, partner, Associated Theatres;
William Forman, president, Pacific Drive-In Theatres
Corp.; Emanuel Frisch, treasurer, Randforce Amuse-
ment Corp., and chairman of ACE; Harry Mandel,
president, RKO Theatres Corp.; Albert M. Pickus,
Stratford Theatre; Sumner Redstone, partner, Red-
stone Management; Leslie Schwartz, president, Cen-
tury Theatres; John H. Stembler, president, Georgia
Theatre Co.; Laurence A. Tisch, president, Loew's
Theatres, Inc.; Stuart Aarons and Harry Goldberg,
Stanley Warner Corp., and Merlin Lewis, ACE ad-
ministrative secretary.

N, J. Allied to Conduct
Own Roadshow Probe

NEW YORK— While Allied States Ass’n
is committed to probe the legal aspects of
special handling of pictures and extended
roadshow engagements. Allied Theatre
Owners of New Jersey will go ahead on a
similar project of its own.

At a membership meeting which pre-
ceded the unit’s annual beefsteak dinner
at the Westmount Country Club, West
Paterson, N.J., a committee was appointed
to consult with an attorney as to what the
exhibitors’ rights are on the matter.

The committee, appointed by William
Infald, president, consists of Wilbur
Snaper, chairman; Irving Dollinger and
Richard Turteltaub. The attorney who will
be retained or consulted was not identified
but it was said that he would study the
consent decrees in the Paramount case to
determine whether the decrees were being
violated by the extended exclusive runs.

The New Jersey investigation will be
separate and apart from the national Allied
project. The unit also will seek to increase
the supply of films suitable for children’s
matinees.

Jersey Allied has received assurances
from distribution executives that they will
do everything in their power to halt unfair
16mm competition wherever it is found to
hurt established theatre business.

Start Italian Film Studio

ROME — Premiere Amintore Fanfani
placed the first stone Monday (15) for a
30-million-dollar motion picture center
being built by Dino De Laurentiis.

Herman Robbins Elected
President of Pioneers

NEW YORK — Herman Robbins is
the new president of the Motion Pic-
ture Pioneers and
the Foundation
of the Motion
Picture Pioneers.

Robbins, chair-
man of the board
of National
Screen Service,
is the fourth
president of the
organization in
the 23 years of
their existence.

He will succeed
S. H. Fabian,
president of Stanley Warner Corp.

Other officers elected were Marvin
Kirch, vice-president; William Ger-
man, treasurer, and John J. O’Connor,
secretary.

Motion Picture Pioneers was founded
by the late Jack Cohn, who was its first
president. He was succeeded by Ned E.
Depinet.

Robbins also is vice-president and a
member of the executive committee of
the Will Rogers Memorial Hospital
and has been active in many industry
causes.

T0A Alerts Members
On 'Research' Plan

NEW YORK — Theatre Owners of
America has alerted its members and the
Motion Picture Ass’n of America in regard
to the “research project” initiated by Les-
lie Stevens and his Daystar Productions,
which was described in the January 15
issue of Boxoffice.

Stevens had written to smaller news-
papers in the midwest, informing them
that Daystar had selected their towns as
possible test cities for a research project
“of critical importance to the motion pic-
ture industry” and encouraging the papers’
help in obtaining answers to questions on
sex and violence in current pictures.

In its current bulletin, TO A states:

“We have alerted the Motion Picture
Ass’n of America to this ‘research’ project
and the MPAA, in turn, has relayed the
information to its advertising and pub-
licity directors conunittee on the east coast
and the Ass’n of Motion Picture Producers
on the west coast. We would also warn
you so that in event Mr. Stevens attempts
to contact the newspapers in your com-
munity, you will be in a position to advise
your newspaper of Mr. Stevens’ past and
current production activities and thus
place this so-called research project in
proper publicity prospective.”

British Queen to 'West Side Story'

LONDON — Queen Elizabeth and mem-
bers of the Royal Family will attend the
Royal Film Performance of “West Side
Story” at the Odeon Theatre in Leicester
Square February 26, for the benefit of the
Cinematograph Trade Benevolent Fund.

Herman Robbins

BOXOFFICE :: January 22, 1962

JANE FONDA
ANNEBAXIB)

BARBARA STANWYCK

t *

$ 4 , 465,486 Disney Net
Follows Big I960 Loss

BURBANK. CALIF.— Walt Disney Pro-
ductions and its domestic subsidiaries
showed a consolidated net profit, after
taxes, of $4,465,486 for the fiscal year
ended Sept. 30, 1961, compared to a net
loss of $1,342,037 for the previous fiscal
year, according to Roy O. Disney, presi-
dent, in his annual report to shareholders.

The 1961 figure represents $2.75 per share
on the 1,626,023 shares outstanding, com-
pared to 83 cents per share on the same
number of shares outstanding in the pre-
vious year. During the past year, the com-
pany paid cash dividends of 40 cents per
share.

Provision for income taxes of $5,322,000
was made for 1961, compared with a net in-
come tax credit of $1,300,000 for 1960.

Gross income for the year was $70,247,-
772, an increase of $19,316,788 over the
$50,930,729 reported for 1960. Film rentals
for the year were $41,159,729, an increase of
$18,229,980. Disneyland Park revenues and
television income also showed increases,
Disney said.

The big increase was due to Disney’s
1961 pictures, “Swiss Family Robinson,”
“101 Dalmatians,” “The Absent-Minded
Professor” and “The Parent Trap,” en-
abling the long-term debt to be reduced by
$17,105,406.

The year beginning October 1, promises
to be another good year for the company
with the first quarter showing “larger
earnings than in any similar period in the
company’s history,” Disney said, due to
continuing substantial income from last
year’s product.

Museum Groundbreaking
To Be Held in June

HOLLYWOOD — June has been set as
the groundbreaking date on the Hollywood
Museum, according to Sol Lesser, who re-
vealed the news before founder members
of the museum at a reception at Pickfair.

The $4,000,000 main structure will be
erected on a four-acre site across from the
Hollywood Bowl which will be called the
Hollywood Museum Center.

In an address to the Hollywood Press
Club, Lesser disclosed that the Hollywood
Motion Picture and Television Museum
will be called simply the Hollywood Mu-
seum, this avoiding slight to any segment
of the entertainment industry.

With the addition of a tower adjunct,
Lesser said an additional $1,000,000 has
been budgeted to the $4,000,000 original
construction cost of the building. A late
development in plans for the museum is
the acquisition of unused portions of films
from studios which will be cut into small
pieces and sold as souvenirs.

20th-Fox Stock Dividend

NEW YORK — Twentieth Century -Fox
Film Corp. has declared a semi-annual
stock dividend of two per cent on the out-
standing common stock of the company,
payable March 31, 1962 to stockholders of
record March 8.

2nd Best Profit Quarter
For Stanley Warner

WILMINGTON, DEL.— Stanley Warner
Corp. recorded its second highest net-
profit quarter in the three-month period
ended November 25, S. H. Fabian, presi-
dent, reported to stockholders at their an-
nual meeting last week.

The consolidated net profit for the period
was $1,312,700. Yet, this was less than the
net profit in the same period a year ago
when an all-time high mark of $1,470,600
for a single quarter was recorded.

Fabian said that theatre admissions,
merchandise sales and other income for
Stanley Warner and its subsidiaries totaled
$35,283,400 as compared with $33,351,000
for the quarter a year ago.

Commenting on the theatre outlook, Fa-
bian said he was reasonably confident that
boxoffice receipts during the coming
months would be at a higher level. He said
marginal theatres were being weeded out,
key properties were being refurbished and
new theatres were being added in centers
where a real future was in evidence.

“We are about to commence the renova-
tion of the Fabian Theatre in Paterson, N.
J., and we expect to construct a new the-
atre in Storrs, Conn., the home town of the
fast growing University of Connecticut,”
he said. “We are scouting new theatre
locations in other growth areas.”

He said major steps had been taken in
expanding foreign operations in Sarong
girdles, Playtex and bras. He also reported
on the activities in the pharmaceutical di-
vision and the industrial chemical division.

The stockholders approved the five-year
extension of the management contract with
the Fabian interests. Re-elected to the
board of directors for two-year terms were
Harry M. Kalmine, W. Stewart McDonald
and Dr. Charles F. McKhann.

Spiro J. Papas Is Elected
Chairman of NAC Board

Chicago — Spiro J. Papas, executive
vice-president of Alliance Amusement Co.,
and retiring president of the National
Ass’n of Concessionaires, has been named
chairman of the board of NAC, according
to Russell Fifer, executive director and
secretary of the association.

The new office was created by an amend-
ment to the bylaws approved by members
in a mail ballot. The duties of the board
chairman will be mainly advisory and the
position honorary in character. Hereafter,
each retiring president will automatically
assume this title. The board chairman ex-
ercises voting power and becomes an hon-
orary member of the board when a new
president is elected, for the duration of his
membership in the association.

Augie Schmitt, veteran popcorn mer-
chandiser of Houston, is the new president
of the concessionaires group.

MGM Earns $2,173,000
In Opening Quarter

NEW YORK — Metro-Goldwyn-Mayer,
Inc., earned $2,173,000 in the first quarter
of the current fiscal year, compared with
$2,177,000 for the similar period last year,
Joseph R. Vogel, president, reported to
stockholders, Monday (15). Accompanying
the report to stockholders was a dividend
check for 50 cents per share, the first divi-
dend check to reflect the 10 cents per
share quarterly increase voted by the board
of directors in November.

The consolidated net income for the 12
weeks ended November 23, represents earn-
ings of 85 cents per share on the 2,545,229
shares outstanding at the end of the period,
compared to 87 cents per share on the
2,506,129 outstanding at the end of the
corresponding period last year.

“The company is continuing to diversify
and expand its interests in the whole field
of entertainment throughout the world,”
Vogel said, pointing to recent manage-
ment changes, including Robert H. O’-
Brien’s recent election as executive vice-
president and Robert M. Weitman’s ap-
pointment as studio administrator, suc-
ceeding Sol C. Siegel.

Vogel also discussed the schedule of re-
leases for 1962, including “The Four Horse-
men of the Apocalypse,” which had its
world premiere in Paris January 17 and is
to have its first American performance in
Washington, D. C., February 8; the first
MGM-Cinerama production, “How the
West Was Won,” to be completed for open-
ing engagements this summer, and “Mutiny
on the Bounty,” now being edited and
scored, which he called “a major entertain-
ment achievement.”

Variety Week, Convention
Plans Get Under Way

MIAMI — Plans for Variety Week, to be
held February 11-17, as well as the 35th
annual convention to be held May 15-19 in
Dublin, Ireland, were the chief topics dis-
cussed at the recent Variety Clubs Interna-
tional four regional meetings held in Las
Vegas, Cincinnati, Atlanta and Washing-
ton, D.C.

Rotus Harvey, first assistant interna-
tional chief barker, will be in charge of the
forum meetings at the Dublin convention.
William Koster, Heart chairman, will
initiate a new format for the Heart reports
at the convention, it was announced.

New fund-raising methods were dis-
cussed at the regional meetings, as well as
the availability of funds from the Hill-
Burton Act, for the construction of hos-
pitals, clinics and facilities. Another item
of discussion was the new Wishing Well of
Variety Clubs at Disneyland.

Deneau Resigns Para. Post
As Assistant Sales Chief

NEW YORK — In a surprise move, Sidney
G. Deneau announced his resignation Fri-
day (12) as vice-president and assistant
general sales manager of Paramount Film
Distributing Corp. His future plans will be
announced shortly.

Deneau has been associated with Para-
mount for the last eight and a half years.

BOXOFFICE :: January 22, 1962

A Passing Remark Starts Off a Major Campaign

U-I's 50th Anniversary Celebration ,
Like Topsy, Just Grew and Grew

A $1 Million Cinerama
To Be Built byNT&T

ALBUQUERQUE, N. M. — A million-
dollar indoor theatre for the showing of
Cinerama, Cinemiracle, 70mm and 35mm
films will be constructed at Winrock Center
as a unit of Fox Intermountain Theatres of
Denver. Construction is expected to start
within six months.

Announcement of the building plans was
made by Melvin Glatz, director of real
estate development for Fox Intermountain,
which is a subsidiary of National Theatres
and Television. Fox Intermountain has ob-
tained a 46-year lease for 2.5 acres from
Winrock under a tri-party agreement with
the University of New Mexico and Winrock
Enterprises, Inc., of Little Rock, Ark.

Negotiations for the transactions were
made by Walker and Hinkle, Inc., repre-
senting Fox, and Hertzmark-Parnegg Co.,
representing Winrock Center.

Encompassing 15,000 square feet and a
seating capacity of 850, the theatre will
have a gigantic curved screen approxi-
mately 32 feet long and 100 feet wide across
the line of the curvature. The screen will
have a depth arc of 20 feet.

Fox Intermountain, now operating Cine-
rama theatres in Salt Lake City and
Topeka, is negotiating for many others.

Architect on the building planned for
Albuquerque is Richard Crowther, Denver,
in cooperation with Ai-t Dekker, Albuquer-
que architect. Glatz said construction
contracts will be let to bid after final plans
have been drawn. The building will be of
contemporary design, with a southwestern
flavor, according to Crowther.

Vogel Popcorn Shipment
To Seattle 'Hijacked'

HAMBURG, IOWA — Art Vogel, Vogel
Popcorn & Son Co., here reports that a
track shipment of 40,000 pounds of pop-
corn en route to Seattle, Wash., is missing.
The popcorn is bagged in paper lined
moisture proof bags bearing the private
label “XTRA-POP.”

The shipment consisted of 800 bags
weighing 50 pounds each, totaling 40,000
pounds in all. The shipment left Hamburg
on December 30 in a tractor-trailer com-
bination. The tractor bears a Kansas
license and the trailer has a license from
Minnesota.

Anyone receiving offers to purchase pop-
corn in bags of this label (probably at a
reduced price) should notify the National
Ass’n of Concessionaires in Chicago or
Art Vogel directly by telephone or tele-
gram. Vogel’s phone number is 28, Ham-
burg, Iowa.

Deal for 20 Cartoons

HOLLYWOOD — Motion picture and
video rights to 20 one-reel animated car-
toons in Eastman Color have been acquired
by Herts-Lion International from Omnico
International Trading Corp. of Yugo-
slavia.

According to H-L topper Kenneth Herts,
the package, which includes many foreign
film festival winners, gives the company
60 cartoon releases, the others previously
acquired from Japan and Czechoslovakia,
with another 20 ordered from Yugoslavia.

NEW YORK — Universal’s plan to cele-
brate its 50th anniversary “grew like
Topsy,” H. H. “Hi” Martin, vice-president
and general sales manager, said last week.
Martin admitted that he, himself, was not
aware of the fact that 1962 would mark
the half-century birthday of the company
until somebody in the organization casually
remarked to him last year that a Golden
Anniversary was just around the corner.

While Universal is the only company
which has kept its original identity as a
corporate name through the years, he said,
other companies are nearing the 50-year
mark and it would be good industry public
relations if they, too, called it to the at-
tention of the public. A lot of people don’t
realize that motion pictures as an industry
are that old and other celebrations could
focus interest on the entertainment
medium, averred Martin.

Although Universal did not announce its
intention to launch an anniversary cele-
bration until early November, preparations
had started several months before, first
very modestly and then “grew and grew.”
Martin said it was not the intention of the
company to “make a big thing” or capi-
talize on a trademark, but to draw atten-
tion to the strong lineup of product which
will be offered during the year. The first
half of the year is being devoted to a
“presidential sales drive,” honoring its
president, Milton R. Rackmil, and plans
are being formulated for a “golden jubilee
of hits” during the second half of the year.
The two events will be tied together and
promoted from a practical point of view,
according to Martin.

Jeff Livingston, executive coordinator of
sales and advertising, who attended a con-
ference with Martin, said a special kit had
been prepared which was designed to help
exhibitors to sell the year’s product. The
material was created to reflect motion pic-
tures’ influence on the living habits of the

Theatremen Responding
To Skouras Celebration

NEW YORK — Exhibitor response to
the Spyros Skouras 20th anniversary
celebration has been “beyond expecta-
tions,” Glenn Norris, general sales
manager of 20th Century-Fox, told
Boxoffice last week.

Norris said that as soon as the an-
nouncement was made that Skouras
would be saluted in observance of his
two decades as head of the company,
exhibitors from all parts of the
country contacted him by telephone,
telegrams and letters, pledging their
cooperation.

The response has been more than
mere lip service, Norris said. The ex-
hibitors are following through with
playdates and contracts. Norris pre-
dicted that the celebration and sales
drive would be an overwhelming
success.

public, with stories prepared for various
sections of newspapers, such as auto-
mobiles, finance, fashions and sports, but
tying in Universal and its pictures with the
articles. Suggestions and material for the
extensive use of television and radio in the
promotion of Universal pictures also are
included.

Through various methods, the anniver-
sary year will be kept alive at the home-
office, in the field and with the public.
During the first half of the year, stress will
be laid on nine pictures; namely, “Flower
Drum Song,” the general release of
“Spartacus,” “Lover Come Back,” “The
Outsider,” “Cape Fear,” “The Day the
Earth Caught Fire,” “Lonely Are the
Brave,” “That Touch of Mink,” “The Spiral
Road” and “The Phantom of the Opera.”
Also during the calendar year and span-
ning the golden jubilee of hits will be
“Freud,” “If a Man Answers,” “To Kill a
Mocking Bird,” “No Man Is an Island” and
possibly “The Ugly American.”

From a corporate standpoint, Universal
was founded on June 8, 1912, by a German
immigrant, Carl Laemmle, who had been a
theatre owner and head of a film exchange
and had entered production to ensure a
continuous flow of product. Prior to that
he had been in the clothing business in
Wisconsin. He first set up shop in the Los
Angeles suburb known as Hollywood, popu-
lation 5,000, having acquired the Nestor Co.
at Sunset Blvd. and Gower St. Within
three years, the company had outgrown the
site and Laemmle purchased property in
the San Fernando Valley where, known as
Universal City, the studio now covers 381
acres. Laemmle remained active until 1935
when, at the age of 68, he retired. Four
years later, on Sept. 24, 1939, he died.

Over the years, Universal has had only
four’ presidents — Laemmle, Robert H.
Cochrane, Nate J. Blumberg and Rackmil.

Roger Lewis, Phil Langner
To Produce Five Films

NEW YORK — Roger H. Lewis and Philip
Langner have teamed up to produce a pro-
gram of five pictures, the first of which
will be Edward Willant’s “The Pawn-
broker.”

Lewis formerly was vice-president in
charge of advertising, publicity and exploi-
tation of United Artists. Langner is an of-
ficer of the Theatre Guild of New York and
was associate producer of Stanley Kramer’s
“Judgment at Nuremberg.”

“The Pawnbroker” is said to be a con-
troversial story based on a book whici has
received critical notices throughout the
world. Production will start in June.

To Loew's Real Estate Post

NEW YORK — Arthur J. Raporte has
been elected vice-president in charge of
real estate of Loew’s Theatres, Inc., by the
board of directors. Raporte, who joined
Loew’s in 1960 as real estate director, pre-
viously was supervising director of real
estate for Laurence A. Wien & Associates.

BOXOFFICE :: January 22, 1962

Ohio High Court Rules
Lovers' Obscene

COLUMBUS, OHIO — The Ohio Supreme
Court Wednesday (17) ruled that the im-
ported film, “The Lovers,” is obscene and
upheld a state law barring “knowing”
possession of obscene literature or motion
picture films.

Exhibition of the French -made film,
banned in some states, resulted in the con-
viction of Dayton and Cleveland Heights
theatre managers under different sections
of Ohio’s obscenity laws.

Judge William D. Radcliff in his decision
on “The Lovers” said:

“To me, it was 87 minutes of boredom in-
duced by the vapid drivel appearing on the
screen and three minutes of complete re-
vulsion during the showing of an act of
perverted obscenity ... it was filth for
money’s sake.”

The court also held unconstitutional a
state law making it a misdemeanor to
possess obscene films without knowledge of
the obscenity.

The conviction of Nico Jacobellis, man-
ager of the Heights Art Theatre, Cleveland
Heights, was affirmed, but the decision was
reversed for the conviction of Allan S.
Warth, manager of the Art Theatre, Day-
ton, for showing the same motion picture
when it declared the section under which
he was convicted unconstitutional.

Rites for Ernie Kovacs,
Film and TV Comedian

HOLLYWOOD — Funeral services for
comedian Ernie Kovacs, 42, were held last
Monday (15) in Beverly Hills Community
Church, followed by private interment in
Forest Lawn.

Simple services, with no eulogies, were
observed for Kovacs, who was killed in-
stantly on January 13 when his car crashed
into a steel pole on Santa Monica Blvd. in
Beverly Hills. In lieu of flowers, the family
requests contributions to medical research.

Noted for creating, producing, directing
and acting in “The Ernie Kovacs Show,”
his popular television program, Kovacs also
had a non-exclusive film contract with Co-
lumbia Pictures, where he had appeared
in several features, including “It Happened
to Jane,” “Our Man in Havana,” “Strangers
When We Meet,” and “Sail a Crooked
Ship.” He also was in “North to Alaska”
and “Wake Me When It’s Over” for 20th-
Fox.

Survivors include his wife, singing star
Edie Adams; three children; mother,
father and a brother.

DCA Now Out of Business;
Stockholders Equity Lost

NEW YORK — Distributors Corp. of
America is, for all practical purposes, out
of business, with debits far exceeding as-
sets. Stockholders of DCA were so in-
formed last week.

Fred Schwartz, founder and president of
the defunct distribution company, advised
the shareholders that their equity had been
lost and that the purpose of the letter was
written so that the stockholders could
take a capital gains loss on their 1961 in-
come tax reports.

Tony Curtis, seated, signs contract
for “Playboy” while Hugh M. Hefner,
publisher of Playboy Magazine; Stan
Margulies, producer for Curtleigh Pro-
ductions, and Sol Schwartz, Columbia
Pictures studio head, look on.

'Playboy' to Columbia;
To Star Tony Curtis

HOLLYWOOD — Sol Schwartz, Columbia
Pictures studio head, announced at a press
conference held at the studio that Colum-
bia had acquired “Playboy,” starring Tony
Curtis, for Columbia release. The deal is one
between Columbia and Curtis’ recently
formed independent company, Curtleigh
Productions, and the first to be made under
the banner of the newly formed corpora-
tion, of which Curtis is president. Columbia
will finance entirely, it was declared.

Indicating the importance which Colum-
bia attaches to the project was the at-
tendance at the conference of top Colum-
bia executives in addition to Schwartz.
Paul Lazarus, Jonas Rosenfield, Sam Bris-
kin and others in Columbia’s executive
echelon joined the press as Schwartz in-
troduced Hugh Hefner, founder of Play-
boy magazine, whose life story Curtis will
portray.

Stanley Margulies is producing, Bernard
Wolfe is writing the screenplay, a major
portion of the picture will be shot in and
around Chicago. Director and additional
stars are to be selected upon completion of
the screenplay.

Nicholas Vandensteen

RIDGEWOOD, N.J.— Nicholas Vanden-
steen, 67, veteran foreign title film editor,
died Sunday (14) at his home here. Van-
densteen worked on thousands of films dis-
tributed abroad by United Artists, 20th
Century-Fox, Paramount and other com-
panies during his 35 years in the industry.
He is survived by his wife Dorothy.

'Day the Earth Caught Fire'
Correct Title of U-l Film

In the review of “The Day the Earth
Caught Fire” appearing in the BOX-
OFFICE Booking Guide section of this
week’s issue the title appears as “The
Day the Earth Exploded.” Also the type
of film inadvertently was given as
comedy instead of drama due to a mix-
up of linotype lines.

'West Side' Seminar
Draws Top Exhibitors

CHICAGO — More than 50 leading ex-
hibitors and advertising-publicity directors
from about two dozen states met here with
United Artists branch managers, sales exe-
cutives, group sales personnel and field ex-
ploitation men Monday and Tuesday
(15,16) for a merchandising seminar on
“West Side Story.” Joining them were of-
ficials of the Mirisch Co., producers of
the film.

At the Mike Todd Theatre, Monday
night, the theatre executives and more
than 1,000 local news media representa-
tives, disc jockeys and social and civic
leaders attended a screening of the pic-
ture. The following day, the exhibitors and
UA-Mirisch representatives participated in
the sales and promotion seminar at the
Ambassador East Hotel.

Milton E. Cohen, UA’s national director
of roadshow sales, presided at the seminar.
Leon Roth, Mirisch Co. vice-president, pre-
sented the concept of the over-all “West
Side Story” campaign and how it was de-
rived, and Fred Goldberg, UA’s executive
director of advertising, publicity and ex-
ploitation, outlined the advertising and
publicity “tools” which will be available
and how they can best be utilized. David
E. Weshner, Mirisch sales representative,
covered the particular problems of theatre
operation for roadshow engagements.

Others who participated in the seminar
included A1 Fisher, Herb Pickman, Mar-
shall Migatz and Sy Freeman of UA’s road-
show department; A1 Fisher, UA’s exploita-
tion manager; and Guy Biondi, eastern
publicity director of the Mirisch Co.

Exhibitors at the seminar and their the-
atres which soon will play “West Side
Story” include;

Noble Arnold, Roxy Theatre, Atlanta, Wilby-
Kincey Service Corp.; Dick Harrison, Mayfair Theatre,
Baltimore, J. F. Theatres; Maurice Druker, Loew's
Teck, Buffalo; Leo Zablin, Mike Todd Theatre, Chi-
cago; Lou Weithe, Valley Theatre, Cincinnati; Arthur
Spaeth, Pub Theatre, Cleveland.

Raymond Willie and Francis Barr, Dallas, Inter-
state Circuit; Mrs. Vera Cockrell and Robert Lotito,
Denham Theatre, Denver; Woodrow Praught, presi-
dent, Marie Meyer and Mickey Rose, Madison The-
atre, Detroit, United Detroit Theatres; Art Katzen,
Houston Interstate Theatres.

Ralph Adams, Fox Midwest, Kansas City; Irwin
Clumb, Greater Amusement Co., Indianapolis; Dale
MacFarland, Lyric Theatre, Louisville, Fourth Avenue
Amusement Co.; James Nairn, Tivoli Theatre, Toronto,
Famous Players Canadian; Ralph Blank, Admiral
Theatre, Omaha; Gabe Rubin and John Bos, Nixon
Theatre, Pittsburgh; Marilyn Hoffman, Music Box,
Seattle, Hamrick Theatres.

Oorothy Solomon, Music Box, Portland, Hamrick
Theatres; Lynn Smearl, Rivoli Theatre, Rochester,
Schine Circuit; Claude Kenner and Thor Svenson,
Capri Theatre, San Diego, Fred Stein Theatres; John
Denman, Southeast Theotre, Salt Lake City, Fox
Inter-Mountain; Sid Kallet and Sam Mitchell, Shop-
pingtown Theatre, Syracuse, Kallet Theatres; Ted
Mann and Betty Miller, Academy Theatre, Minne-
apolis, Mann Circuit; Al Frank, Strand Theatre, Mil-
waukee, Wisconsin Amusement Corp.

Warner Bros, to Distribute
26-Minute Documentary

HOLLYWOOD — As a public service,
Warner Bros, will distribute “A Force in
Readiness,” 26-minute documentary fea-
turette produced by the Marine Corps Re-
serve motion picture unit with the coopera-
tion of Warners and AFM. The film will
be distributed to theatres nationally in
35mm following its run at the Beverly
Theatre on the bill with “The Roman
Spring of Mrs. Stone.”

The film is narrated by Jack Webb and
was written and produced in Technicolor
by William L. Hendricks.

BOXOFFICE :: January 22, 1962

While you’re trying to sweeten your Box Office receipts, don’t
forget the KIDDIES! They're starved for the kind of FUN you
can give them in a KIDDIE SHOW... and they’ll lay their enthusiasm
on-the-line at your Box Office. ..if you’ll SELL it to them! The
Showmanship tools to do the job are available at any N.S.S.
exchange. ..and TWO NEW, COLORFUL 40x60 DISPLAYS have
been prepared to charm your young prospects! They’re packed
with color ... loaded with FUN and jammed with SHOWMAN-
SHIP! There’s room for ''sniping' 7 your attractions ... and they’ll
stand up for continued use... show after show! They’ll set you
back a measly $3.50 each... at a cost-per-show of less than
the price of ONE ADMISSION! Why don’t you order BOTH
styles and really go after that KID business like you mean it!

’TtMycomd

By WILLIAM HEBERT

Edward Dmytryk Schedules
Four Films for 1962-63

Director Edward Dmytryk has scheduled
four films for 1962-63 for Dmytryk-Weiler
Productions, inde-
pendent company of
which he is producer-
director. First, to
start in early spring,
is “Day of the
D a m n e d,” to be
filmed in its locale,
Vienna, with Mont-
gomery Clift and
Susan Kohner
starred.

The remaining

Edward Dmytryk three wiU be shot in
Hollywood. They are
“The Following Day,” suspense story by
Charles Schnee to be made in late 1962 or
early 1963, “The Courageous Coward,”
original comedy by John Fante. The fourth
property is being negotiated. Releasing
plans have not been announced.

Merle Oberon Back in Films;

To Star in 'Forsaken'

Merle Oberon, after several years ab-
sence from the screen, resumed her act-
ing career last week starring in “The For-
saken,” costarring Steve Cochran and be-
ing produced by a new independent com-
pany, New World Film Corp. The latter
is financed by Joseph M. Schenck Enter-
prises.

To be filmed entirely in Mexico, locale of
the story, it began shooting in Acapulco
and will move to Cuernavaca and Mexico
City. Richard Rush is directing, Victor
Stoloff producing.

The story, which bears assorted credits
for original and screenplay, concerns a ma-
ture woman, rather dissolute, who falls
genuinely in love with an American mining
engineer several years younger than she.

The Arthur L. Wilde Co., Inc., of Los
Angeles, has been signed to handle the
publicity and exploitation.

Freddie Fields to Produce
'Great Race' With Mirisch

Freddie Fields and his Project III com-
pany has activated “The Great Race” in
association with the Mirisch Co. on a one-
picture deal. The story, being scripted by
Arthur Ross, concerns an auto race from
New York to Paris via Asia, promoted in
1901 by two doctors, named Leslie and Fate.
Fields, a personal management specialist
and financial adviser for numerous top
stars, has recently branched into develop-
ing feature film projects in which stars,
not necessarily his clients, can appear as
well as participate on percentage or other
profit-sharing arrangements. He is re-
portedly talking to Paul Newman to play
Dr. Leslie, Jack Lemmon and Danny Kaye
for the role of Dr. Fate.

“Race,” first feature for Project III, is
a joint undertaking with Blake Edwards’
Homeward Productions, which Edwards will

produce and direct with Fields as executive
producer. Audrey Hepburn, Shirley Mac-
Laine and Natalie Wood are being nego-
tiated for top femme roles. Production is
scheduled for spring, 1963.

Saul Swimmer, Allen Klein
To Coproduce in Mexico

Saul Swimmer and Allen Klein, part-
nered with Tony Anthony in Three Task
Pictures, Ltd., have disclosed preparations
of a Mexican coproduction on “Conquest
of Mexico” for the end of this year. Klein
will produce, Swimmer will direct and An-
thony will star in the feature, to be fi-
nanced by the Mexican government. Swim-
mer and Anthony are currently completing
the original screenplay.

The partners’ recent film, “Force of Im-
pulse,” starring J. Carroll Naish, Robert
Alda and Jeff Donnell, will be released by
Sutton Pictures, a subsidiary of Pathe-
America. Also on Three Task Pictures’
schedule is “Sowbelly,” an original by
Swimmer and Anthony, slated for an
August start, and “Wounds of Hunger,”
Luis Spota tome, on the drawing boards
for a February start in Mexico.

The trio has just finished “Without
Each Other,” an original by Swimmer and
Anthony, in Florida, toplining Anthony
and Brud Talbot.

Goldwyn Studio Announces
Production Help Plan

The Samuel Goldwyn Studio, mainly
leasing its facilities to independent pro-
ducers with Goldwyn currently not in pro-
duction, has announced a new system of
controls to check on hiring of all produc-
tion personnel. The system is aimed at cut-
ting costs for the producers by preventing
so-called “feather-bedding” and is said
to have the cooperation of the unions, all
concerned with the problem of “runaway”
production and consequent reduction of
jobs for their members in Hollywood. Daily
checks will be made by Goldwyn execu-

Nominations for Oscars
To Be Announced Feb. 26

Nominations for the 34th annual
Oscar Awards will be announced Feb-
ruary 26. The Academy, headed by
Wendell Corey as president, is alter-
nating the time of the announcement
each year to accommodate worldwide
press, television and radio outlets. This
year the announcement will be made
on Monday, above date, at 10 a.m.
PST. Starting this year, the announce-
ment will be made in mid-morning
one year and mid-afternoon the next,
PST. The plan is designed to give
newspaper, TV and radio outlets an
equitable break, in alternate years, to
meet their deadlines, which vary as
to time of day and night from coast to
coast and around the world.

fives, under the plan being instituted, to
see that no more help is engaged for each
day’s shooting than is actually required.
Other independent studios leasing space
are reported to be following suit.

Dimitri Tiomkin Is Scoring
'How the West Was Won'

MGM- Cinerama’s “How the West Was
Won,” starring 15 top actors and actresses,
has completed shooting with principals and
Dimitri Tiomkin has commenced scoring of
the big production.

Geared for July 4 premiere presentation,
the film was directed by John Ford, Henry
Hathaway and George Marshall. Bernard
Smith produced from a screenplay by
James R. Webb.

Involved in the filming was over 200,000
miles of travel. Among the stars in the
spectacle are Carroll Baker, Brigid Bazlen,
Walter Brennan, Henry Fonda, Hope
Lange, Karl Malden, Henry Morgan, Agnes
Moorehead, Gregory Peck, George Peppard,
Robert Preston, Debbie Reynolds, James
Stewart, John Wayne and Richard Wid-
mark.

Kenneth Darling to Make
3 Films Independently

Producer-writer Kenneth Darling has
formed Maydale Productions under which
banner he will produce three independent
features. Initial venture will be “Ring and
the Spur,” an original by Darling to star
James Coburn, Noah Beery, James Griffith
and Wallace Ford.

The film, slated to roll this week, will
be lensed in Arizona in Panavision and
Eastman Color on a $400,000 budget, with
Harold Knox as associate producer.

Second production scheduled is “George,”
blueprinted for a May start, followed by
“The Last Resort.” Recently completed by
Darling was “Ballad of Dancers,” which
he filmed under Gray-Mac, toplining War-
ren Stevens and Martin Landau.

Frankenheimer to Produce
'Lie Down in Darkness'

John Frankenheimer will bow as a solo
producer- director with “Lie Down in Dark-
ness,” post-war novel by William Styron,
for which he is personally financing the
writing of the screenplay. Frankenheimer
plans to secure a top young star for the
leading role, then submit the package to a
studio.

Meanwhile, he will direct “The Man-
churian Candidate,” starring Frank Sin-
atra, as a partnership production in as-
sociation with George Axelrod under their
M. C. Productions outfit, in a coproduction
deal with Sinatra’s Essex company for
United Artists release.

Maurice Duke Preparing
Three New Productions

Maurice Duke, producer of “The Contin-
ental Twist,” starring Louis Prima, has
leased space at the Goldwyn Studio to pre-
pare three more features for production.
First is currently titled “Look Who’s
Laughing” and is scheduled to star June
Wilkinson, who is in “Twist.” William J.
Hole jr., who directed the latter, has been
signed to a multiple pact by Duke.

BOXOFFICE :: January 22, 1962

AB-PT Sells 2 Boston
Theatres: $1.3 Million

BOSTON — In one of the most surprising
moves and one which caught the theatre
district unaware was the biggest theatre
sale in Boston’s history, involving two the-
atres — a film house and a legitimate the-
atre — including an entire block. The Metro-
politan Theatre, 4,310 seater, which opened
in 1925, and the Wilbur legit theatre of
1,241 seats, and the 14-story Metropolitan
office building and parking lot were sold
by American Broadcasting - Paramount
Theatres to the Pratt Clinic-New England
Center Hospital for a reported $1,300,000.

Several groups are already reported en-
deavoring to lease the legit theatre for ten
years, the period which the hospital plans
to leave the theatre undisturbed, it was
said. Among the groups were Sack The-
atres, E. M. Loew and Blinstrub’s night
club.

There is no certainty, however, as to
what will happen to the Metropolitan, an
old time film palace with a marble lobby
staircase and gold door knobs.

It is also reported that if it should seem
best to reconstruct the film house either
for films or legit use, and if it can be done
at a reasonable cost, the hospital center’s
planners would consider alterations.

Several plans for the Metropolitan have
also been proposed. One would provide for
two small theatres, splitting the big theatre
in two. Another would convert it into a
legit theatre similar to the 3,000-seat Fisher
Theatre in Detroit, which was recon-
structed from a film theatre. Another plan,
which has some backing in Boston, is to
make the Metropolitan into a 2,500-seat
opera house.

The new owners, however, have no in-
tention of razing the Wilbur legit theatre,
or of putting it to any other than its pres-
ent use as a legit house.

Memorial Services Held
For Kenneth MacKenna

HOLLYWOOD — Memorial services were
scheduled in New York for Kenneth Mac-
Kenna, 62, actor and former MGM story
editor and director, who died at St. John’s
Hospital, Santa Monica, on January 15,
following a long illness. Surviving are his
wife Mary; a brother, and his mother.

Although MacKenna resigned his posi-
tion with MGM as head of the story de-
partment in 1959 to return to acting on the
Broadway stage, he most recently had re-
turned to Hollywood for screen and TV
roles, including “Judgment at Nuremberg.”

Marilyn Monroe Film Set
For Cameras March 15

HOLLYWOOD — Camera work on “Some-
thing’s Got to Give,” Marilyn Monroe
starrer for 20th-Fox, is slated to go before
the cameras March 15, following script
changes. The film is Miss Monroe’s last
for the Westwood studio under her con-
tract.

Henry T. Weinstein, who is set to pro-
duce the film, plans to make “The Visit”
with Ingrid Bergman, and “Faster, Faster,”
toplining Shelley Winters, before starting
the Monroe project.

Pick Three More Foreign
Films for Oscar Ballot

NEW YORK — With “Last Year at Mari-
enbad,” French film to be distributed in
the U.S. by Astor Pictures, already selected
as the official French government entry in
the Academy Awards competition, Italy,
Switzerland and Sweden have also made
their official entries for the best foreign
film.

Michelangelo Antonioni’s “The Night”
(“La Notte”) has been chosen over 11
other Italian entries as the official nominee
for Italy in the Academy Award category
of best foreign films. “The Night,” which
is being distributed in the U.S. by Lopert
Pictures, stars Jeanne Moreau, Marcello
Mastroianni and Monica Vitti and won the
Golden Bear award at the 1961 Berlin Film
Festival.

Switzerland has selected “Shadows Get
Longer,” produced by Lazar Wechsler and
directed by Ladislao Vajda. The picture
will be distributed in the U.S. by Times
Film Corp. in an English version. Sweden
has picked Ingmar Bergman’s latest,
“Through a Glass Darkly,” starring Har-
riet Andersson and Gunnar Bjornstrand,
which will be distributed in the U.S. by
Janus Films. Bergman’s “The Virgin
Spring,” also distributed by Janus, won an
Academy Award in 1961.

Argentina has also named its entry for
“best foreign film” in the Academy Awards,
Angel Productions “Summer Skin,” directed
by Leopoldo Torre Nilsson. The picture
will be distributed by the new firm in the
U.S. in March.

Parade Releasing Names
Sales, Exploitation Men

HOLLYWOOD — Parade Releasing Or-
ganization, recently formed distribution
company with headquarters in Hollywood,
is in process of appointing representatives
to handle sales and exploitation campaigns
in their respective territories throughout
the country. Operating out of eastern di-
vision headquarters in New York and
supervising other operations in the east
and south is Sanford Weiner. Other ap-
pointments are Joe Solomon, Philadel-
phia; Ellis Gordon, Boston; Harold Levy,
Washington; Syd Whiteman, Atlanta;
George Pabst, New Orleans; Heywood Sim-
mons, Dallas; Bud Austin, Denver; Frank
Rule, San Francisco; Skip Regan, re-
sponsible for the Los Angeles territory and
the overall national sales and exploitation.

Currently being set up are special mid-
western representatives.

The sales-exploitation corps is currently
concentrating on “I Bombed Pearl Har-
bor” and “Then There Were Three.”

To follow is “When the Girls Take
Over,” to be released in February. Parade
will soon announce additional features
which the company will distribute in 1962.

London Date for 'Bridge'

LONDON — “A View From the Bridge,”
which is being released in the United
Kingdom by Paramount Pictures, will open
at the Plaza Theatre, London, February 22.
The picture, which was adapted from
Arthur Miller’s stage play was filmed in
New York and France and is being dis-
tributed in the U.S. by Continental Dis-
tributing.

Pa. High Court Hears
Union Segregation Suit

PHILADELPHIA — The State Supreme
Court Monday (15) heard arguments in
the case of the one-man movie theatre
picket.

An attorney for a Negro projectionist
maintained before the court that his client
has a right to picket to protest segregation
policies of two unions.

The projectionist is Luther Sidberry, who
has been enjoined from picketing at the
Uptown and Park theatres. His attorney,
Cecil B. Moore, is seeking to upset the
injunction.

Sidberry’s reason for picketing, according
to Moore, is the merger or desegregation of
the two unions — Local 307 (all white mem-
bers) and Local 307A (all Negro) of the
International Alliance of Theatrical Stage
Employes, AFL-CIO.

Sidberry, a member of Local 307A until
he was dropped for non-payment of dues,
started his one-man crusade last May. He
carried a sign charging: “This Theatre Will
Not Employ Colored Motion Picture
Operators.”

The four white operators of the two the-
atres brought a lawsuit against him. They
are John A. Kirby, Abe Linn, Julius Needle-
man and Jules Matusow.

Sidberry was enjoined from picketing at
the theatres by Judge Gerald A. Gleeson.
The judge at the same time ordered the
two locals to merge or desegregate under
the supervision of the Human Relations
Commission. So far nothing has been done.

BUY NOW-PAY LATER
on FREIGHT PREPAID
BALLANTYNE
SPEAKERS
at LESS than
wholesale
prices

YOU MUST ACT BY FEB. 10, 1962

A Hk,

IB allantyna

BALLANTYNE INSTRUMENTS AND ELECTRONICS INC.

A DIVISION OF ABC VENDING CORPORATION
1712 JACKSON ST. OMAHA 2. NEBRASKA

BOXOFFICE ;: January 22, 1962

Product Available, If Effort is Made to Locate It

INDEPENDENT EXCHANGES ADD 152
FEATURES TO U. S. RELEASE CHART

KANSAS CITY— How short is the pro-
duct shortage?

In its most recent report, Theatre Owners
of America claimed that major American
companies reached an all-time low of 220
releases in 1961, including 68 foreign-pro-
duced features.

If you ask the independent film distribu-
tor, his answer is that there is plenty of
product around, and that those exhibitors
who are willing to search outside the
normal channels of distribution will find a
substantial supply of supplementary pro-
gram material.

WIDE VARIETY IS AVAILABLE

The trouble is, they contend, too few ex-
hibitors are willing to make the search.

To determine if this is so, Boxoffice took
a look at the situation this week and dis-
covered that there, indeed, is a strong
supply of feature pictures in the indepen-
dent vaults, in virtually every story class-
ification, many in color and widescreen,
produced in both this country and abroad,
either English-language or English-dubbed
and, on the basis of first-run playdate ex-
perience, are profitable attractions when
properly booked and promoted.

Why, then, are independently distributed
features so limited in playdates, when the
need for additional product appeal's to be so
great?

The answer: An apparent lack of com-
munication between exhibitor and distribu-
tor. Exhibitors claim the distributor keeps
his potential customers in the dark on
available product. Distributors charge the-
atremen with a failure to lift themselves
out of their buying-booking rut and go
hunting along the unbeaten paths. Many
exhibitors appear to be almost totally un-
aware of the presence of a large supply of
independently released pictures. More
likely than not, a great number of them
still think of an independent picture as a
domestic quickie unworthy of screen time,
or a picture turned out abroad, with
English titles and suitable for the art house
but not for the general-patronage theatre.

If you want to sell us, tell us, is the plea
of many small exhibitors, who complain
that altogether too many exchanges are
making a play for circuit dates while ignor-
ing the operator of one and two-theatre
situations.

306 FILMS REVIEWED

A Boxoffice check of available product
in independent vaults indicates that there
are plenty of pictures to talk about. In its
January 1 issue this year, Boxoffice pub-
lished an index of pictures reviewed in
1961. A total of 306 films was listed, of
which 99 were distributed through inde-
pendent suppliers. In addition, records of
Boxoffice-Barometer which tabulate first-
run reports from key cities, show that an
additional 53 independently distributed
features received such playdates during the
year, pictures on which reviews are yet to
be published. This would indicate that U.S.
exhibitors over a 12-month period had
their choice of 359 feature films, of which

56 Distributors Get '61
First- Run Playdates

Independent distributors of English-
language or English-dubbed films whose
product received first-run playdates, as
reported to Boxoffice-Barometer in 1961,
included the following companies:

Audubon

Manhattan

Aidart

Mardi Gras

Ajay

Medallion

Astor

Mishkin

Azteca

G. Gordon Murray

Atlantis

Omat

Brandon

Kingsley-Union

Bentley

Pacemaker

Brenner

Parallel

Cinema Associates

Pad-Ram

Citation

Parade

Crown

Pathe-America

Crest

President

De Rochemont

RCIP

Ellis

Schoenfeld

Embassy

Showcorporation

Excelsior

Sutton

Exclusive

Times

Favorite

Toho

Filmgroup

Trans-Lux

Films-Around-the-World

T udor

Governor

UMPO

Harrison

United of Calif.

IFD

UPRO

Janus

Valiant

Lopert

Vitalite

Lux

Woolner Bros.

Magna

Zenith

152 were channeled to theatre screens by
way of independent exchanges.

Not all, to be sure, were the top-quality
pictures for which exhibitors have been
clamoring — but a great many possess
sufficient boxoffice merit to warrant first-
run playdates, and the small- town theatre -
man, whose patrons demand action, will
find a substantial catalog of suitable pic-
tures to meet his frequent-change require-
ments. All are English-language or English-
dubbed. In addition, Boxoffice reviewed
59 foreign-language features, a number
of which played to strong grosses in
general-patronage situations, in which the
national distributors called up their full
promotional forces to back the local cam-
paigns.

As for playdates, the national picture is
spotty. In some areas, the independent
picture is given a handsome play. In others,
the independent film seldom finds itself up
on the downtown first-run marquee. The
South, from Dallas eastward to the coast,
is a stronghold of the independent distri-
butor. New England, with its almost uni-
versal policy of double bills, is another.
Theatres in the Los Angeles area, in
Chicago, New York State and Detroit play
a great many of the independents and, not
surprisingly, it is in these territories where
distributors maintain a steady line of com-
munications with their customers. Most
independents advertise their product and
make a sincere effort to reach the exhibi-
tor, while on the other hand, exhibitors
have learned that there is cinematic gold
to be mined at the independent exchanges
and make that extra effort to locate pro-
duct suitable for their situations.

If the lines of communications generally
are weak, as some theatremen contend,
how do exhibitors manage to locate

pictures which are virtually unpublicized?
For the wide awake theatreman, there are
few problems. He watches first-run re-
ports in the tradepress, develops a new pro-
motional idea and goes searching for pic-
tures which can be tied into the campaign,
and keeps abreast of all production news,
with an eye on pictures which are likely
to be released through other than tradi-
tional channels.

SEEK OUT TOP EXHIBITORS

Because the wide awake exhibitor has be-
come an established source of business, the
independent distributor is more likely to
seek him out rather than the occasional,
in-and-outer. Some exhibitors go to New
York several times a year to look at pro-
duct and to discuss picture prospects with
the national independents. A few, like
Sperie Perakos, Connecticut circuit oper-
ator, attend the international film festivals
to acquaint themselves with picture-making
outside the established studios, and to
search for features suitable for their thea-
tres.

For the most part, however, the distribu-
tion and exhibition of independent pictures
is a struggle for both sides. There are too
many pictures and too few exchanges to
handle the full flow of releases. As a result,
altogether too many features fail to get any
special local-level promotion at all. There
are exhibitor complaints about a failure to
provide adequate accessories. Pressbooks
for some pictures, they say, are virtually
nonexistent.

On the other hand, exhibitor complaints
are echoed to some extent by the local dis-
tributors. Whereas, the exhibitor says he
finds it difficult at times to get the paper
from the exchange, the distributors make
the same complaint about the national
distributors. And the national distributors
squawk about what they declare is the
failure of local exchange people to do an
adequate selling job for them. And so it
goes, from top to bottom and back again.

HOUSE ACCOUNTS HURT’

A major handicap to the local exchange
operators is the practice of some national
distributors to handle major accounts
themselves. The latter admit they prefer
to spoon the top cream from the market,
and it is this policy of maintaining house
accounts that makes the profit-picture less
bright for the local-level representatives.
For, the house accounts can run into a
hefty share of the national gross. One
major distributor told Boxoffice he and
his colleagues prefer to deal directly with
the big accounts — in most instances, the
larger circuits.

“Yes, we do shoot for the circuits,” he
said. “We go after the top 30 per cent of
the accounts and let the local distributor
handle the remaining 70 per cent.” In
dollars and cents, the top 30 yields con-
siderably more than the remaining 70.

On the national accounts, the customer
gets good servicing. The larger companies
generally have their own advertising-
publicity departments, or at least an ad-

BOXOFFICE :: January 22, 1962

publicity man, who provides all the
necessary aids for the local campaign.

All of this, of course, makes the going
somewhat tougher for the regional dis-
tributors. For, in order to operate profit-
ably they are forced to take on more pic-
tures than they can handle. This, in turn,
becomes a major complaint of the national
distributor — too many features seeking to
move through too few outlets. So many
independent offices have closed in the last
few years that in a great number of cities,
a single independent distributor serves as
the sole merchandiser of independent pro-
duct. Thus, with inventories at a high level
and sales staffs usually a one or two-man
force, it is simply impossible for the dis-
tributors to reach out for maximum sales.
Of necessity, they turn to the best bet in
the market, the dominant circuits.

SEEKS TO INCREASE OUTLETS

According to Richard Brandt, president
of Independent Film Distributors Ass’n,
his organization is studying ways and
means of increasing the number of local-
level outlets.

Pictures on the independent market are
negotiated for on the same basis as major-
studio product or, as one distributor said,
“for all the traffic will bear.” This com-
ment was made, of course, in reference to
the top quality imports and the higher-
budgeted domestically produced pictures.
On the action front and the lower-budgeted
films, the small-theatre owner can negoti-
ate satisfactory deals all along the line. It
is on the house-account picture — the
prize-winning foreign film, the smart,
sophisticated comedy from the continent or
Great Britain, the color spectacle from
Italy— that price becomes a factor.

The reason? The overseas producer no
longer approaches the U.S. distributor, hat
in hand, begging for a playdate, willing to
sell his picture outright if only to be taken
off his hands for the American market.
He is fully aware of the product shortage
here, and he is willing to take advantage
of the situation. As a result, importers
are being forced to pay higher and higher
prices for films made overseas, and look for
increased rentals from the U.S. exhibitor.
It is a problem which has them worried.

The average exhibitor looking for box-
office quality pictures, however, need not
be concerned about the ever-rising rentals
for imported films. What he needs to be as-
sured of, say independent distributors on
the local scene, is that product to supple-
ment his regular supply is available, that
much of it can be profitable at the box-
office, and that it is plentiful if he learns
where to look for it.

NEW PAPER AT NATIONAL SCREEN

A trip to the National Screen Service
offices, for example, will uncover a con-
siderable number of features. A recent visit
to the NSS offices in Kansas City turned
up pressbooks and still scenes from a num-
ber of independently produced and dis-
tributed features — in some instances pic-
tures which had been little promoted or
publicized, if at all. An inquiry at this tra-
ditional source may uncover pathways to
new product for the exhibitor initiated
in the ways of the independent distributor.

Allen Widem, Boxoffice correspondent
in New Haven and Hartford, who probably
sees more independent features than any
film critic in the country, reports that if
exhibitors — particularly those in double-

TO A Now Sees Some Improvement
In Product Situation This Year

NEW YORK — Although Theatre Owners
of America bemoaned the dearth of releases
last year of American-made product, the
association sees a glimmer of hope for more
releases this year because of increased pro-
duction. TOA claimed that major Ameri-
can companies reached an all-time low of
220 releases in 1961 of American-made pro-
duct, but pointed out that the lineups were
augmented by 68 foreign produced pictures.
In 1960, TOA estimated, the major sched-
ules were supplemented by 75 imported
films.

According to TOA, 187 pictures were
started in 1961, of which 161 were released,
compared with 164 and 181 started in 1960

and 1959, respectively. Last year’s total of
started productions was only five under
the 192 in 1958 when there were 299
releases.

As of January 1, the major companies
and independents had scheduled the start
of 14 more pictures, two more than the 12
set for shooting on that date last year. Be-
cause a big portion of 1961’s production
will be released this year, the increased
figures give hope of some gains, even
though small, in the number of releases
which theatremen can expect in 1962, TOA
reported.

The yearend breakdown, according to
TOA, was like this:

Company

1961

1960

Allied Artists

Am. Int. Pictures

Columbia

Disney

MGM

Paramount

20 th -Fox

Universal

Warners

Independents

Total

187

164

Total Releases in year

220

239

1959

1958

1961 films
still in
production

Scheduled
To be started
in 1962

—

181

192

26*

224

299

(* Included

in 187 total)

bill territories — would do a little searching
for independent product, they’d have little
difficulty in finding enough pictures to meet
program requirements. “The trouble is that
too few exhibitors, from where I sit, really
want to take the trouble to look into the
extremely promising states-rights field for
product. And, therein, lies the tragedy of
modern-day exhibition.”

In New England, the smart theatreman
is not only willing to provide key-run dates
to good independent features, but he backs
it with full-scale promotional activity. He
does not use it merely to fill out a program,
and as a result, gets good boxoffice re-
sponse, Widem says.

“On a great deal of the product, of
course, the advertising and promotional
material is necessarily slim. Pressbook ma-
terial is at a premium — some of the minor
caliber pictures don’t serve up any kind of
press information. And, as for promotional
help, I can count on one hand the quantity
of states-rights promoters imaginative
enough to come into the territory either
by themselves or escorting somebody of
worth connected with a picture. The ex-
ceptions are the live wires, the ones who
know how to make a picture pay off.”

Despite these problems, says Widem, ex-
hibitors must do everything in their power
to encourage the independent distributors
because, at the moment, they are a theatre-
man’s principal source of pictures to al-
leviate the product shortage.

There seems to be no question but that
the situation will improve along the inde-
pendent route, as new and more aggressive
producers and distributors enter the com-
petition for playing time, and demand top-
grade merchandising of films they place in

the hands of local exchange management.
This already is evident in a number of
cities. American International Pictures, for
example, is taking on independent product,
and giving the supplementary releases the
same selling and promotional treatment
accorded AIP features. Filmgroup is pro-
viding its distributors with full-scale,
major-status campaign materials. Astor
Pictures, reorganized in the last year, is
stepping up its promotional efforts. Sutton
Pictures, recently founded as a Pathe-
America subsidiary, will add from 18 to 24
features a year to the market, and paper
for the first releases already are at Na-
tional Screen Service exchanges. These
are but a few developments which brighten
the outlook for independent distributors in
need of an expanded market in which they
can obtain aggressive selling and promo-
tion of their product, and for theatremen
in search of an increased supply of quality
boxoffice attractions.

U-I Acquires British Film,
'Information Received'

NEW YORK — Universal-International,
which recently completed a deal for three
British-made pictures, “The Day the Earth
Caught Fire,” “ Desert Patrol” and “Nearly
a Nasty Accident,” for release in the U. S.,
has acquired the American and Canadian
distribution rights to another Rank drama,
“Information Received,” according to
Henry H. “Hi” Martin, vice-president and
general sales manager. The picture, which
will be released in July, was produced by
United Co-Productions, Ltd., and features
Sabine Sesselman, William Sylvester, Her-
mione Baddeley and Edward Underdown.

BOXOFFICE : : January 22, 1962

BOXOFFICE BAROMETER

|| Babes in Toyland (BV)

150

350

175

300

175

300

160

145

300

315

160

150

260

150

275

185

200

175

140

214

H Bachelor in Paradise (MGM)

125

220

130

225

250

190

150

225

150

280

160

175

140

175

17G

|§ Cold Wind in August, A (Aidart)

140

300

175

150

175

100

164

II Comancheros, The (20th-Fox)

140

220

130

195

165

200

175

150

340

100

250

150

200

170

180

175

130

200

177

| Deadly Companions (Pathe-America)

150

100

I El Cid (AA)

300

275

250

285

190

260

|| Errand Boy, The (Para)

140

250

150

300

110

150

240

120

135

200

250

120

170

175

179

Flower Drum Song (U-I)

175

375

200

350

160

185

225

425

290

250

275

150

180

190

225

165

160

231

iff Girl in Room 13, The (Astor)

140

100

105

§ Goddess of Love, The (20th-Fox)

120

100

|§ Great War, The (Lopert)

100

115

100

170

106

|§ Greyfriars Bobby (BV)

120

200

130

150

100

110

275

125

135

235

100

175

160

120

139

| Hand, The (AIP)

100

|§ Hey, Let's Twist! (Para)

215

100

110

100

135

114

|f House of Fright (AIP)

100

150

130

100

130

105

H I Bombed Pearl Harbor (Parade)

100

115

135

125

104

Invasion Quartet (MGM)

135

100

125

100

106

|| King of the Roaring 20's (AA)

135

155

100

175

150

114

H La Dolce Vita (Astor)

220

450

160

200

190

200

600

175

325

300

200

300

155

200

175

200

246

L'Awentura (Janus)

125

120

155

100

160

300

138

f| Left, Right and Center (Bentley)

150

125

150

200

138

:i| Loss of Innocence (Col)

170

100

150

175

107

|f Man in the Moon (Trans-Lux)

100

150

135

190

150

225

140

|f Mysterious Island (Col)

150

125

150

175

115

225

240

300

250

175

174

f§ One, Two, Three (UA)

300

195

200

250

175

200

155

250

216

ft*?

f§ Pocketful of Miracles (UA)

175

275

150

230

120

200

150

135

200

120

200

175

100

175

130

165

150

169

f| Purple Noon (Times)

150

200

110

130

150

130

225

149

H Roman Spring of Mrs. Stone, The (WB)

175

275

125

190

100

225

140

100

195

125

159

|f Second Time Around, The (20th-Fox)

135

150

260

200

300

190

140

185

120

175

168

% Town Without Pity (UA)

130

175

100

175

110

140

125

140

100

175

100

135

124

•1

If Trouble in the Sky (U-I)

100

| Twist Around the Clock (Col)

160

400

120

115

265

100

125

162

^ Upstairs and Downstairs (20th-Fox)

180

100

150

125

111

§f Watch Your Stern (Magna)

110

160

285

150

125

100

145

f§ Wonders of Aladdin, The (MGM)

100

135

100

195

107

| X-15 (UA)

120

105

100

i mmmmmmmmmmmmmmsmm

ft*:#????

&ft : :*ft :

1. Twist Around the Clock (Col)

TOP HITS

THE WEEK

Individual runs, not an average.
Listings are confined to opening
week figures on new releases only.

Boston

400

2. Flower Drum Song (U-I)

Boston

375

Omaha

225

3. El Cid (AA)

Boston

300

10.

4. One, Two, Three (UA)

Boston

300

11.

5. Watch Your Stern (Magna)

Kansas City

12.

6. Pocketful of Miracles (UA)

Boston

13.

Memphis

200

mmmfmmm

7. Errand Boy, The (Para)

Milwaukee 250

oman Spring of Mrs. Stone, The (WB)

Boston 275

abes in Toyland (BV)

Boston 250

lary Had a Little (UA)

Milwaukee 225

ey. Let's Twist! (Para)

Boston 215

ail a Crooked Ship (Col)

Boston 200

scond Time Around, The (20th-Fox)

Detroit 200

mm mm

W.H. Ostenberg, His Four Theatres
In Good Hands, Ends Film Career

All Omaha Offerings
Go Above Average

OMAHA — Five holdovers chalked up
above average grosses here in Omaha.
Pace-setter was “Seven Wonders of the
World” at the Cooper Theatre. “Flower
Drum Song” at the Orpheum held up
strong after a bang-up first week and
“Babes in Toyland” had a good third week.

(Average Is 100)

Admiral — Fighter Attack (AA); The Tall

Stranger (AA), reissues 110

Cooper — Seven Wonders of the World

(Cinerama), 7th wk 135

Dundee — The King and I (20th-Fox), reissue,

7tih wk 115

Omaha — The Errand Boy (Pora), 2nd wk 110

Orpheum — Flower Drum Song (U-l), 2nd wk 125

State — Babes in Toyland (BV), 3rd wk 120

'Twist Around Clock' Okay
As Sole Mill City Opener

MINNEAPOLIS — “One, Two, Three” in
its fourth week at the St. Louis Park The-
atre continued to be the leader among all
offerings in the city with a rating of 175
per cent. The only new attraction, “Twist
Around the Clock” at the Lyric, just did
make the “top hit” category, with a 120
per cent rating.

Academy — King of Kings (MGM), 10th wk 90

Avalon — Not Tonight, Henry (IFD); Sapphire

(U-l), revival, 3rd wk 150

Century — South Seas Adventure (Cinerama),

1 0 th wk., 8 days 135

Gopher — Pocketful of Miracles (UA), 4th wk. ..100

Lyric — Twist Around the Clock (Col) 120

Mann — Flower Drum Song (U-l), 4th wk 130

St. Louis Park — One, Two, Three (UA), 4th wk. 175
State — The Second Time Around (20th-Fox),

2nd wk ] 00

Uptown — Purple Noon (Times), 2nd wk 100

World — The Roman Spring of Mrs. Stone

(WB), 3rd wk 90

'Bachelor Flat' Defies Zero
In Good Milwaukee Opening

MILWAUKEE — Below-zero temperatures
didn’t help patronage in local theatres,
managers agreed, but several situations
managed to show outstanding scores de-
spite the bone-chilling weather. “King of
Kings” and “South Seas Adventure” did
very well, and “Bachelor Flat” had a satis-
fying 200 per cent week at the Wisconsin.

Downer — Man in the Moon (Trans-Lux), 2nd wk. 125

Oriental — The Second Time Around

(20th-Fox), 3rd wk 125

Palace — South Seas Adventure (Cinerama),

3rd wk 250

Riverside — Babes in Toyland (BV), 3rd wk. ’ . . 135

Strand — King of Kings (MGM), 2nd wk 300

Times — Mary Had a Little (UA), 2nd wk 150

Tower— -The Second Time Around (20th-fox),

3rd wk 175

Towne — Flower Drum Song (U-l), 3rd wk. 1 50

Warner — The Errand Boy (Para), 2nd wk 150

Wisconsin — Bachelor Flat (20th-Fox) 200

A Carl White Houseful

OMAHA — Carl White, veteran owner of
Quality Theatre Supply Co. of Omaha, had
a humming houseful when his daughter-in-
law, Mrs. John White of Hagerstown, Md.,
and her five children visited. Carl White’s
son John died last fall after a relatively
short illness. Their visiting grandchildren:
John, Terry, David, Bruce and Pamella.

Plum City Theatre Sold

PLUM CITY, WIS.— The Plum City The-
atre, built in 1938, has been sold by village
trustees to Jim Glaus, a local merchant,
who plans to remodel the upstairs into a
store. The village will have free use of the
basement for elections and meetings for 20
years. The theatre has been closed for
several years.

SCOTTSBLUFF, NEB.— The film indus-
try career of the dean of exhibitors in this
high plains area ended here Sunday (14)
with the formal transfer by the Midwest
Realty & Amusement Co. of its four theatre
properties in Scottsbluff and Gering to
Commonwealth Theatres, Inc., of Kansas
City.

W. H. Ostenberg, who has developed and
operated theatres here for more than 40
years, completed the sale, effective the
14th, of the Midwest, Bluffs and Oto the-
atres here and the Grove in Gering on
Wednesday. That evening he entertained
Richard Orear, Commonwealth president:
M. B. Smith, vice-president in charge of
advertising: Doug Lightner, general man-
ager of theatre operations, and Wally
Kemp, district manager, at a dinner. Other
guests included Mayor William Nichols;
Paul Harm, secretary of the Chamber of
Commerce, and Floyd Wisner, of the Star
Herald, and 25 business leaders.

The transfer climaxed the acquisition of
six exhibition properties in this area by
Commonwealth since last fall, when the
Biggers Drive-In (575 cars) was purchased
from Floyd Biggers and the 1,000-car
Terryton Drive-In was bought from Terry
Carpenter.

OVER $500,000 INVESTED

The investment in the six theatres is
estimated at well in excess of $500,000.

Commonwealth also has Nebraska the-
atre properties at North Platte and Grand
Island.

At the dinner, Ostenberg said the sale of
his theatres had been contemplated for the
past three years. He commented that he
feels Commonwealth can do a fine job for
the North Platte valley and said he would
not have sold his interests if he did not feel
this were true.

Ostenberg’s name has been synonymous
with Scottsbluff and North Platte valley
theatre operations for two generations. He
was the oldest active operating theatre
owner in this Rocky mountain-high plains
area.

BORN IN EASTERN NEBRASKA

He was born at Malmo in eastern Ne-
braska and was graduated from the Ne-
braska Military Academy. During his
school years he studied the theatre and
worked as an usher and ticket taker at the
Orpheum and Brandeis theatres in Omaha.
At one time he took small parts in plays in
the old Boyd Theatre in Omaha.

After leaving school he went to the
potash fields east of Alliance in western
Nebraska and operated his first theatre at
a little settlement known as Hoffland, a
125-seat affair for potash workers.

Later he added another theatre at
Antioch. He later sold both and moved to
Alliance. In February 1919 he came to
Scottsbluff and purchased the Orpheum
after it had been closed for some time be-
cause of the flu epidemic.

Next he acquired the old Star Theatre,
which later was called the Sun and which
finally closed when the Egyptian Theatre
was built in 1927. Ostenberg proudly re-
calls that the Egyptian was known through-
out the region as one of the most elaborate

Richard H. Orear, left, president of
Commonwealth Theatres, with head-
quarters in Kansas City, signs the pa-
pers for the purchase of four theatres
in Scottsbluff, Neb. with W. H. Osten-
berg, owner of the theatres. The final
papers were consummated on Wednes-
day, and the properties were taken
over by Commonwealth Sunday (14).

theatres of the era.

At one time he owned and operated a
number of other theatres in North Platte
river valley towns. In 1929 the Egyptian
was equipped with sound, the first in west-
ern Nebraska.

Bill Boston, who started as a bill
peddler for Ostenberg theatres while in
high school, became the manager. He will
serve as Commonwealth’s city manager.

On March 5, 1945, the Egyptian burned
to the ground. Before the ashes had cooled
Ostenberg’s crews were busy working on
the Oto Theatre to put it in shape to fill
the gap temporarily. Ostenberg opened
his new Midwest May 3, 1946, on the site of
the old Egyptian.

The veteran exhibitor recalled the “hey-
days” of the 1920s, the depression years of
the 1930s and the World War II period
which brought a rush of prosperity. He be-
lieves the biggest impact has been from
television but that the effect is wearing off,
although he finds patrons much more
selective.

Top movies again are bringing out box-
office lineup crowds in the midwest, he
said. He and Boston assert “The Robe”
was their top grosser of all time.

Ostenberg plans to maintain his resi-
dence here. He has other business interests
and is a director of the Scottsbluff Na-
tional Bank.

Theatre in Stevens Point
Opens After 4 Dark Years

STEVENS POINT, WIS. — The Lyric
Theatre, closed for four years, was re-
opened recently under the management of
the Wisconsin Amusement Corp., which
also runs the Fox Theatre at 444 Main St.

The Lyric Building, owned by Mr. and
Mrs. Lee H. Cranston, Green Bay, was
leased last fall to Frank Bluhm of Wausau,
and the Wisconsin Amusement Corp. later
took over from Bluhm.

Edward Conn, formerly of Phillips, is the
new Lyric manager.

The theatre, which was remodeled prior
to being reopened, is operating seven days
a week.

BOXOFFICE :: January 22, 1962

NC-1

OMAHA

Walt Austin was fortunate that things
turned out as well as they did at his
Plains Theatre in Plain view. Neb., he re-
ported. As the crowd was leaving after the
night's performance, the theatre furnace
blew up. No one was injured and the only
damage was to the furnace. There was no
fire. The Plains is closed temporarily
while a new furnace is being installed . . .
The Creighton, Neb., theatre, which had
been closed, has been sold by the Largen
Bros, to a group of businessmen and has
been reopened.

Marvin Jones, Red Cloud exhibitor,
flew to Omaha for buying and booking
during a sub-zero day accompanied by a
driving north wind. “Nothing to it,” com-
mented Jones, a former Air Force test
pilot . . . Meyer Stern, American Interna-
tional representative, attended a regional
convention in Chicago . . . Joe Jacobs,
Columbia manager at Des Moines, was in
Omaha for a checkup and treatment.

Art Johnson, exhibitor at Yankton, S. D.,
who was hospitalized with a nerve ailment,
is out and reports he is feeling fine . . .
Walt Jancke of the Varsity and State at
Lincoln was hit by the flu bug last week
. . . Hob Hirz, former manager of the Cass
Theatre at Plattsmouth, has sold his bowl-
ing alley there. His brother Bob, city man-
ager for Warner Bros., was in bed ten days
with a severe attack of the flu.

Jack Klingel, city manager of the Cooper
Foundation Omaha theatres, reported that
the Cinerama picture, “Seven Wonders of
the World,” did the most business of any
picture at the Cooper since “Ben-Hur.”

Tent 22 Stag on 22nd

OMAHA — Variety Tent 16 will hold a
stag get-together Monday (22) at the 40
Bowl. Chief Barker Don Shane said the
purpose was to give new members a chance
to get acquainted and map plans. A dance
is tentatively scheduled late in February.

Closes Afton, Iowa, Paris

AFTON, IOWA — After operating the
Paris Theatre for nearly 17 years, L. J.
Kessler has closed the theatre and sold the
building to an oil company. The final
screen program at the Paris was shown
December 18, the equipment then being
dismantled and removed from the building.

QUALITY

PROJECTION

R[ Super-Optica

If ■

K*Hreal economy

AMERICAN THEA. SPLY. CO., Sioux Falls, S. D.

DES MOINES THEA. SPLY. CO., Des Moines, la.
MINNEAPOLIS THEA. SPLY. CO., Minneapolis, Minn.

HURLEY SCREEN COMPANY, INC.

96-17 Northern Blvd. Corona 68, N.

Omaha Buena Vista Going
To New Quarters Feb. 1

OMAHA — The Buena Vista office will
move from its present quarters to a suite of
rooms in the Omaha Loan & Building
Ass’n Building February 1, Manager Pat
Halloran has announced.

Quarters at 709 in the building are being
remodeled. The location is approximately
three blocks from the present office at 307
North 16th St. Halloran said the same
phone number, 341-4030, will be retained.
Others on the staff are Sam Deutch,
booker, and Vivian Schertz, secretary.

It was reported incorrectly previously
that the United Artists exchange, adjacent
to the present Buena Vista office, was
planning to move.

Buena Vista’s change will mark the sec-
ond film company to locate in the OLBA
Building. Warner Bros, now occupies a
suite on the fifth floor.

DES MOINES

gympathy is extended to Bill Luftman of
National Screen Service whose wife
Phyllis died of a respiratory ailment. Sur-
viving besides her husband are a son
Lance; her parents, Mr. and Mrs. Sam
Cohen, Des Moines, and a sister, Mrs. Ollie
Silverstein, Memphis . . . Charles Caligiuri,
Paramount manager, was in Lincoln call-
ing on exhibitors ... Ed Williamson, WB
division manager, was in from Dallas. Sam
Keller of the Warner home office was at
the Des Moines branch.

Art Thiele of Des Moines Theatre Supply
was home with flu . . . E. M. Garbett, Iowa
United Theatres, returned to work after a
hospital checkup . . . And Buck Manbeck,
who weathered the big snowstorm at Iowa
Methodist hospital because he had no
galoshes and no way home, received a bill
from his physician for $10. That, plus $26
a night at the hospital, adds up to a gala
weekend !

Back from California in time for Des
Moines’ bitter 17-below zero were these
vacationers: Frank Rubel of Central

States; Bill Proctor, manager of the Town
Drive-In, and Thelma Washburn, Universal
booker . . . Congratulations to Dick Glenn,
Eastown manager, who became engaged
recently to his cashier, Joan Buckingham
. . . 20th-Fox screened “Tender Is the
Night” at the Ingersoll . . . The week of
the 14th saw these films staying on in the
Iowa capitol city: “Pocketful of Miracles”
entering its fourth week at the Capri;
“Flower Drum Song” in its third week at
the Des Moines, and “Second Time
Around” at the Ingersoll for the fourth
week . . . Renovation and redecorating are
under way at the Firemen’s Theatre at
New Hampton.

Local 173 Elects

TORONTO — Four officers of projection-
ists Local 173 were elected by acclamation
as follows: president, Lou Lodge; recording
secretary, Roy O’Connor; tyler, Richard
Topping, and sergeant at arms, William
Laidlaw. Elected by vote were A1 Hope,
vice-president; Graydon Hulse, secretary-
treasurer; Pat Travers, business manager,
and Harry Brooks, Bert Hill, Bert Measures
and Loren Clark, executive board.

Shenandoah Theatre
Destroyed by Fire

SHENANDOAH, IOWA — Fire which
broke out during the severe cold weather
that gripped the midwest last week left the
Page Theatre a gutted, ice-covered skele-
ton. Frank Kennedy, manager of the the-
atre which is owned by the Commonwealth
Theatre Corp. of Kansas City, estimated
the loss at least $200,000. He said it is
partially covered by insurance.

The fire also gutted offices of the Shen-
andoah police department and a record shop
owned by Mr. and Mrs. Ralph Childs. They
estimated their loss at $7,500. Both were in
the theatre building. Temporary police
headquarters were set up in the Shenan-
doah Chamber of Commerce office across
the street.

The fire broke out while the Page was
showing “The Hustlers.” Patrons were
hustled outside in 6-below-zero weather
shortly after a theatre staffer discovered
the blaze about 7:30 p.m.. It apparently
started in a small room near the projection
booth, Kennedy said. All were evacuated
safely and no one was injured.

Firemen from Clarinda, Red Oak and
Essex joined the Shenandoah department
in the fight, hampered by a 20-mile-an-
hour wind which sent sparks showering on
the roofs of nearby buildings.

Firemen credited a firewall between the
theatre and an adjoining building which
houses city and fire department offices
with halting the flames in that direction.

Kennedy and his mother Lillie were un-
able to remove any possessions from their
upstairs apartment in the building.

“We have only the clothes we are wear-
ing,” said Kennedy.

The city hall, fire station and jail, ad-
jacent to the theatre, suffered heavy fire
damage. Other nearby establishments re-
ported considerable smoke and water
damage.

Wednesday (10), the day after the fire,
Kennedy was assisted by Roy Tucker, pur-
chasing agent for Commonwealth, and
Charlie Tryon, circuit maintenance and
construction supervisor, in beginning to
prepare the Shenandoah State Theatre
(which had been closed) for operation. The
State was reopened through their efforts
Saturday evening (13).

Richard Orear, Commonwealth president,
said, “I’m thankful indeed that no one was
hurt in the catastrophe in Shenandoah.
The firemen and citizen volunteers fought a
gallant battle, and we are deeply apprecia-
tive. The severe loss there, as far as Com-
monwealth is concerned, was partially
covered by insurance. It is our intention to
rebuild the theatre as soon as possible.”

Form Production Unit

HOLLYWOOD — Irwin-O’Donnell Pro-
ductions has been formed by Lew Irwin and
Edward O’Donnell for the production of
motion picture and television films.

According to Irwin, president of the new
firm, “The Addict” and “Teenage Idol —
Symbol of a New Generation” have been
acquired from his own independent outfit,
Lew Irwin Productions. “Addict” is com-
pleted, and “Teenage Idol” will wind the
end of this month.

Irwin heads the production end of 1-0
Productions, while O’Donnell serves as
vice-president in charge of sales.

NC-2

BOXOFFICE :: January 22, 1962

By Better Business we mean:

* Better projection and sound therefore in-
creased patronage

* Less equipment trouble and lower mainte-
nance

It may be costing you more to maintain your
present equipment than to own a modern in-
stallation. Many exhibitors know that recent
technologic advances have been so great as to

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A “miracle of modern science.” A
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3 a CENTURY 70 MM 35 PROJECTOR (or standard 35 mm).

make their present projection and sound
equipment completely obsolete — and this does
effect theatre attendance.

For better business your audience wants and
deserves the best.

Your Century theatre supply dealer is pre-
pared to advise you on modernizing your
theatre — the latest improvements come to you
from Century.

2a PENTHOUSE REPRODUCER.

Century-Ampex 4-channel magnetic.
Century reproducer with exclusive
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See your Century dealer or write . . .

CENTURY PROJECTOR CORPORATION

NEW YORK 19, N. Y.

SOLD BY

Quality Theatre Supply Co.

Des Moines Theatre Supply Co.

1515 Davenport St.
Omaha, Nebraska

1121 High St.
Des Moines 9, Iowa

Minneapolis Theatre Supply Co.

75 Glenwood Ave.
Minneapolis 2, Minnesota

BOXOFFICE :: January 22, 1962

NC-3

North Central Allied
Board Meets Jan. 30

MINNEAPOLIS — The agenda for the
mid-March convention of the North Cen-
tral Allied will be presented at the NCA
board meeting January 30 at the Variety
Club in the Pick-Nicollet Hotel, according
to Martin Lebedoff, president.

Lee Loevinger, assistant U.S. attorney
general, has been announced as a speaker
at the convention, which also will be held
in the Pick-Nicollet Hotel. Since taking his
Washington assignment, Loevinger has
been handling antitrust cases for the
government.

Stan Kane, NCA acting executive secre-
tary, has been in Arizona to recuperate
following a recent bout with pneumonia.

MILWAUKEE

geveral members of the mayor’s motion
picture commission assert they have
made formal complaints to the Milwaukee
Journal because of the paper’s “on-and-
off” policy. According to one member of
the commission, the fact that the Journal
refuses to accept what might be termed
“off-key” advertising from theatremen is
right and proper. But says this commis-
sioner, to allow Gypsy Rose Lee to appear
on the paper’s TV station (WTMJ-TV)
and get away with some of the movements
and chatter she supplied during the inter-
view, “is the payoff!” According to the
commissioner, Miss Lee dropped the mike
she was holding into her bosom which in
turn led to some fancy loose talk, he said.
“And on TV!” he added. Miss Lee was
here for an engagement at the new Swan
Theatre.

Moe Dudelson, Warner Bros, manager
here, was to join Farley Granger and
Chester Morris as honored guests at the
annual King for a Day festivities January
15, at the Schroeder Hotel here. Moe goes
to the Chicago branch as sales manager
replacing William Lange, who was named
manager in Pittsburgh. Moe will be re-
placed here by Joe Kaitz, a salesman work-
ing out of the Buffalo office.

The Oriental Theatre, a unit of Pru-
dential Theatres, beginning January 16,
will present a Fine Arts Film Festival with
a film each Tuesday for the next six weeks.
To be shown are: Madame Butterfly, La
Gioconda, Don Giovanni, La Forza, Two
Loves Had I and Belles and Ballets.

Harry Boesel, Wisconsin Theatre man-
ager, pulled out all the stops in his pro-
motion of “Comancheros” and his result-
ing big grosses show that it pays to bally-
hoo. He had a contest on WEMP’s Gas

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Light Club show; Columbia record tieup,
getting 50 free records; several stills gratis
in the papers: wangled a chuck wagon for
display in front of the theatre; kiddies
contest, with youngsters attired in cowboy
or Indian costumes; “speared” 500 yo-yos,
and gave ’em out at the door; “engineered”
some free time on the air, and got free time
on TV. To top it off, the Santa Parade
passing the theatre “spread more of his
cheer.”

A “twist” dance contest at Manitowoc’s
Capitol Theatre was called off after the
management received a protest from a
pastor. The cancellation touched off a
noisy demonstration by the audience of
approximately 700, when Lou Ingram, man-
ager, made the announcement. He said
admissions would be refunded or tickets
validated, and some 200 took advantage of
the measure. The others remained for the
second movie. The pastor told of receiving
a number of telephone requests from mem-
bers of his parish, and added that he had
read that many periodicals had condemned
the “twist.” Later, according to the pastor,
a number of young people paraded in front
of the rectory and the church for a short
time, protesting the cancellation.

Jim Gray Purchases
Monte in Monticello

MONTICELLO, IOWA— Jim Gray, who
has managed theatres in northwest and
eastern Iowa, for
many years, has
bought the local
Monte Theatre from
Glen Lambert. Gray
started his theatre
career 22 years ago
with the Trueman T.
Rembusch Circuit-
Syndicate Theatres
of Franklin, Ind. For
11 years Gray man-
aged theatres in
northwest Iowa for
the Harold Field Pio-
neer Theatres Corp. of St. Louis Park,
Minn.

He was associated briefly with the late
C. A. Schultz interests’ Consolidated Agen-
cies of Kansas City. However, for the last
six years Gray has managed the Pastime
Theatre in Maquoketa, the latter theatre
being a holding of Iowa United Theatres,
Des Moines.

Roof-to-Floor Remodeling
At Hastings, Neb., Strand

HASTINGS, NEB. — From front to rear,
from floor to ceiling and everything in be-
tween has been remodeled at the Strand
Theatre under the supervision of Manager
Fred Teller jr.

The project, which required several
months to complete, includes the installa-
tion of new seats. These chairs are wider
than the old-style models, have a coil
spring foundation, foam rubber armrests
and coil spring backs. The entire chair is
covered with a soft fabric.

Floors have been sanded and restained
and new carpeting placed in the aisles and
lobby. The interior has been repainted. The
lobby presents an entirely new and cheer-
ful appearance with bright colors and mod-
ern materials and a new aquarium. New,
too, are the boxoffice and lobby furniture.
Restrooms have been remodeled.

Jim Gray

Brehm, Hruska Buy
Herman Gould Slock

LINCOLN — Russell Brehm of Lincoln
announced that he and U.S. Senator
Roman Hruska of Omaha have purchased
the stock owned by Herman S. Gould of
Omaha in the Center Drive-In Co.

Gould, Brehm and Hruska have been as-
sociated previously in operating the string
of drive-ins here and in Omaha and Corpus
Christi, Tex.

Now 66 and just back from Will Rogers
Hospital in Saranac, N.Y., where he had
been a patient, Gould is retiring from busi-
ness, Brehm said.

Senator Hruska and Brehm will continue
operation of the open air theatres. These
include the 84th and O in Lincoln, the new
Q-Twin Drive-In, the Airport and 84th and
Center, all in Omaha, and the Texas Drive-
In.

MIMEAPOUS

picketing is continuing at the Norshor
Theatre at Duluth following an an-
nouncement by Minnesota Amusement Co.,
house operator, that it planned to reduce
its schedule at the house and drop one
operator. Charles Winchell, president of
MACO, and John Branton, vice-president,
were in New York for a routine visit to the
American Broadcasting-Paramount The-
atres home office.

The staff of Columbia celebrated the
birthday of Genevieve Donovan, cashier,
with candy and cake . . . Harold Field,
president of Pioneer Theatres, and his
wife are back from San Francisco where
they visited their son John, a theatre archi-
tect, and his wife. They also visited in
Palm Springs with Field’s brother Leonard
of New York, a stockholder in the circuit,
and his wife, who are traveling around the
world.

Outstate exhibitors on the Row were Ray
Blakeslee, Medford, Wis.; Jake Musich,
Duluth; Austin Harren, Cold Spring; Joe
Mlinar, Spring Valley; P. R. King, Adrian,
and Judd King, Dell Rapids, S.D. . . . Sub-
zero cold and windy weather, the worst in
many years, put the skids on boxoffice
grosses throughout the city . . . Harry Hol-
lander, Columbia exploiteer, was in working
with F. A. “Bud” Wiggins, Lyric manager,
on “Twist Around the Clock” and “Sail a
Crooked Ship.”

A combined, 3,500-seat assembly hall and
theatre building is among the features
proposed for a new convention facility in
the heart of the loop, which downtown
businessmen are pushing. They are seeking
a new hall away from the municipal audi-
torium. The proposed structure would cost
from $6,000,000 to $10,000,000. The project
is being backed by merchants and hotel
men in the central downtown area.

William Glaser Dies

FARIBAULT, MINN. — William Glaser,
73, former operator of the Paradise Theatre
and at one time the old Lido and Village
theatres here, died January 6. Funeral
services were held in this city January 9.
Glaser had been retired about seven years.
The Paradise is now operated by Leo Ross.

NC-4

BOXOFFICE :: January 22, 1962

• ADLINES & EXPLOITI PS

• ALPHABETICAL INDEX

• EXHIBITOR HAS HIS SAY

• FEATURE RELEASE CHART

• FEATURE REVIEW DIGEST

• SHORTS RELEASE CHART

• SHORT SUBJECT REVIEWS

• REVIEWS OF FEATURES

• SHOWMANDISING IDEAS

THE GUIDE TO

BETTER BOOKING AND BUSINESS- BUILDING

Old-Style A- Board Flashes New Life on Lighted Trailer

The State Theatre in Cuyahoga Falls, Ohio, a suburb of Akron, faces large apartment houses and has
its own "front yard." Shown here are its light-drenched billboard in the "yard" and, standing in the
street, one of the three cars fitted to haul a lighted A-board trailer. Standing beside the car is
Edward Smart, manager of the State. The entire State front and the billboard were illuminated at
night for two weeks prior to "Flower Drum Song."

Floodlighted Billboard
In Front of Theatre at
Cuyahoga Falls, Ohio, Is
Also a Boxoffice Help

Lew Horwitz and Sanford Leavitt of the
Washington circuit, headquartered at
Cleveland, are convinced now is the time to
return to good old-style ballyhooing. They
tried it. It paid off.

“I’ll agree with any exhibitor who says
that 'Flower Drum Song’ is one hell of a
word-of-mouth picture,” said Leavitt, “but
we started some old -type ballyhooing prior
to its opening. We used floods on the front
of the State Theatre and its billboard.”

AN AKRON SUBURB

'o ) Their State Theatre is in Cuyahoga
Falls, Ohio, an Akron suburb, and draws
not only from these two cities but from
others south, east and west. Cleveland gets
most of the northward audience.

“In addition to the floodlighting, we
turned to the old A-board on a trailer with
power going back from the automobile to
sealed-beam lights on both sides of the
trailer board to light it very brightly. We
drove through major residential districts in
both cities, through the big shopping cen-
ters and all other strategic areas every
night prior to the opening. As soon as it
got dark we were out with the trailer. All
three of us — Lew, myself and Manager Ed
Smart — had our cars fixed for trailing and
also for lighting the board.

HEADS OFF POLICE

“I went out first to head off any possible
police trouble. I didn’t feel, after investi-
gating, we really needed any special permit
for this type of advertising. I know I was
‘investigated’ plenty. For the first half
hour - I was out I had a big police escort,
and I knew they were watching to see
whether I violated any driving rules, or
forgot to use my hand signals on turns or
stops. They were really breathing down
my neck.

“We had no music on the trailer for that
would have called for a special permit, but

\ I did turn up my car radio to full blast to

' help attract attention to the board. In the
shopping centers we really had ’em reading
our A — for advance! — board.

“There is a big skating rink on the west
side of Akron. One night I stopped as close

to it as I could, had the radio blasting and
all the lights on. A big crowd left the ice
and came over to see what was going on.
So, between the shopping centers and other
strategic areas our A-board was on the
move all the time for one of our three cars
was out with it. We were followed usually
by packs of kids, sometimes the police, and
in the major centers we went slowly enough
to attract all eyes — and with the radio
blasting — we caught all ears and then the
eyes read our board.

“It paid off. We packed ’em over the
holidays right from the start, and we are
sure the board was responsible to a large
extent for the initial crowds. After that,
as I have said, ‘Flower Drum Song’ is a hell
of a word-of-mouth picture.”

Film Festivals on Weekends

Weekend film festivals, which have been
developed at the Clark Theatre in the
Chicago Loop, continued through January
with these attractions: Naughty Marietta,
The Second Greatest Sex, Rigoletto,
Pagliacci, Lust for Life, The Hustler and
Dark at the Top of the Stairs.

Golden Age Club Grows
To 4,000 in Few Years

Cooper Foundation’s Golden Age Club
at Lincoln, Neb., had another good year in
1981 with membership going up about
1,000 for a new 4,000 total. It started three
years ago with only about 800 members.
Cooper officials are well pleased with their
returns — endless smiles of appreciation and
“thank you’s” from so many of the 60-or-
over club members. City manager Dean
Ziettlow says the dividend of gratitude far
exceeds the outlay for the club’s recogni-
tion of each member’s birthday. That’s
when Cooper sends a congratulatory card
and a theatre pass for two to the celebrant.

Other times the show is theirs for a flat
50 cents admission.

Curbs on 'Dolce Vita'

At Worcester, Mass., the Park Arts The-
atre advertised its booking of “La Dolce
Vita” as “Recommended Only for Mature
Adults ... No One Seated During the
Performance.”

BOXOFFICE Showmandiser : : Jan. 22, 1962

— 13 —

Big Carnival No Excuse
For Promotion Sitdown

Annual fairs, community carnivals,
sports tournaments and other such events
which monopolize public interest periodi-
cally are the despair of many showmen,
some of whom just give up and wait until
the big attraction is over.

Not for A. G. Crisp, capable manager of
the Odeon Theatre in Southend-on-Sea,
Essex, not far from London. Southend
Carnival Week, an annual affair extending
through eight days or so, was coming up
just prior to his booking of “No, My Dar-
ling Daughter,” a teenage romance featur-
ing Juliet Mills, older sister of Hayley Mills,
who recently leaped to popularity in the
U. S. in “Pollyanna” and “The Parent
Trap.”

CROWDS OVER HALF-MILLION

The carnival crowds range up to half a
million or more; however. Crisp was not
awed by this competitive popularity — his
reaction was positive and aggressive.

“To ignore Carnival Week, especially the
biggest carnival in Britain and the third
largest in the world, is a crime against ex-
ploitation!” — this was Crisp’s reaction.

Crisp went out and gave his booking
100 per cent effort, which was split in
three parts — first, promotion through the
regular media ; second, tieups with the car-
nival, and third, public relations. His over-
all promotion won a Showmanship Star
rating, one of the highest granted in the
Circuits Management Ass’n Star Showman-
ship Year drive.

THREE MAJOR PARADES

Three major parades are held during
Carnival Week, each with more than 250
entries. Entering a float in these in com-
petition with national and “fanatical” local
business people is both difficult and ex-
pensive, as Crisp aptly reports. However,
Crisp and “No, My Darling Daughter”
came through with excellent representation
in the parades, which were seen by more
than 500,000. To do this, he followed a
time-proven course — he went to one of the
dealers whose product appears in the film,
in this case Peter Watkin, Ltd., dealer for
the Vespa scooters (by appointment to
HRJ, the Duke of Edinburgh), and pro-
posed that the two go in together on a
float, splitting the cost 50-50. The resulting
creation carried the joint message in be-
half of the film and the Vespa scooter in
high style; in fact, the float won a second-
best rating from the judges in one parade,
and a fourth prize for all three. The tieup
copy:

“Are you a good judge? A question posed
by the Odeon Theatre and Peter Watkins.

“ ‘No, My Darling Daughter’ at the
Odeon next week . . The Vespa scooter
on Display at showrooms on Hobley Thick
Lane.

“Judge for yourself. Outstanding com-
edy performance by Juliet Mills. The
economy of travel by a Vespa scooter.
They’re both in ‘No, My Darling Daughter’

“ ‘No, My Darling Daughter’ it must be

Porade float designed by Odeon
(England) Manager A. G. Crisp
and put together by Peter
Watkin, local Vespa scooter
dealer, and Crisp, who split the
cost 50-50. The float was seen
by more than 500,000 persons
at Southend-on-Sea in three
Carnival Week parades. The
float was part of Crisp's successful
effort to give his Odeon Theatre
a share of the carnival publicity.

a Vespa Scooter.

“Juliet Mills, Rad Fulton. Both ride a
Vespa scooter in ‘No, My Darling Daugh-
ter’ at the Odeon next week.”

The float, as may be seen in the ac-
companying photo, was an impressive af-
fair, with plenty of copy plugging both the
scooter and the film. A white-wigged judge
in a high-backed chair looked on a girl
in boater (hat) and gym suit astride a
scooter. At times, four girls in similar at-
tire and driving Vespa scooters rode behind
the main float.

One of the three parades took place at

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Indicated here is the Odeon Theatre entry in the
professional photography section of the Town Show
of the Southend-on-Sea Carnival week. Featured
are photos of motion picture and other celebrities.
The sign reads: "Many of the photographs in the
Celebrity Panel were taken at the Odeon Theatre
by Film Souvenirs, Unlimited, London Road . . .
There are fine pictures at the theatre, too, this
week . . . Juliet Mills in 'No, My Darling Daughter'
. . . Next week, Ingrid Bergman, Yves Montand,
Anthony Perkins, 'Goodbye Again.'"

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night, necessitating lights. This was pro-
vided by a mobile electric generator, which
was obtained from a dealer in return for
credit signs on the side.

The four girl outriders behind the float
were members of the Mudlarks Scooter
Club, which had printed at its expense
1,000 leaflets plugging the film and
“scootering.” These were distributed by the
scooter riders along the parade routes.

The float was designed by Manager
Crisp himself, and he, Peter Watkin and
the latter’s brother-in-law did the work.

The float, however, was only one achieve-
ment Crisp carried out in getting his the-
atre and current attraction in the bright
blaze of carnival attention. One of the
most popular events of the celebration was
a Bikini Girl contest, which climaxed at a
big dance in the huge Kursaal ballroom at
Southend. Manager Crisp made himself
useful to the carnival committee, and ended
up by being appointed a judge of the Bi-
kini Girl contest along with a representa-
tive of the famous Sadler’s Wells ballet or-
ganization. This brought mention of Crisp
and the theatre many times in newspa-
pers, posters, letters, booklets, etc.

EMCEE HELPS OUT

Crisp even persuaded the emcee at the
dance and final judging to plug the film.

“When I agreed to act as judge,” Crisp
relates, “I did not know they intended to
bill me, but this they did, and also gave
me an excellent buildup to the public at
the dance. I was indeed chairman of the
judging committee, and managed to get
the emcee to give us a good plug for ‘No,
My Darling Daughter,’ in a semihum orous
vein by saying that I would have to say
yes to someone’s daughter in the bikini
lineup although it was ‘No, My Darling
Daughter’ at the Odeon Theatre.”

The carnival wound up with a Town
Show (rabbits, horses, photography, cage
birds and pigeons). Crisp was a judge,
along with the mayor, of the Summer
Scenes section of the photography show,
and also entered an Odeon Theatre dis-
play called Celebrity Corner. This con-

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— 14 —

BOXOFFICE Showmandiser :: Jan. 22, 1962

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sisted of pictures taken of actors, and other
well-known persons, many of whom had
been at the Odeon Theatres.

The highly rated campaign for “Darling
Daughter” was reported by Manager Crisp
in three parts, the last two of which are
described above. This part concerns adver-
tising in the two Southend newspapers,
store displays and tieups and street pro-
motion, the latter by two girls (“daugh-
ters”) in boater hats and gym suits, etc.

Heavy TV Play Is Given
'Devil' Volcano Short

The five -minute Columbia featurette of
volcano scenes was given hefty television
coverage prior to opening and during “The
Devil at 4 O’clock” at Loew’s Theatre in
Rochester, N.Y.

Lester Pollock, longtime manager at
Loew’s, arranged a package deal with
WHEC-TV by which he received over
$1,179 prime telecast time at less than half
cost.

Eighteen 30-second and seven 10-second
spots, plus 25 quickies for the holdover,
were purchased on radio.

Manager Pollock had a special false front
in red highlighted by glitter, special post-
ers, stills and flashing lights. For Main
street and shopping centers, he had a walk-
ing book ballyhoo. In addition, there were
posters one week prior and one week cur-
rent on 14 Manson New Agency trucks,
four downtown music store windows and
two sports shop windows.

WHEC radio sponsored a contest in
which entrants had to list pictures Frank
Sinatra has appeared in, for guest tickets.
A screening was held for Catholic clergy.

It's Arnold Childhouse

’o ? Arnold Childhouse (not Greathouse) is
a member of the executive staff of United
California Theatres at San Francisco.

STRAIGHT FROM THE HEADLINES

THE BOOK THAT CAUSED THE CONTROVERSf!

"'1984' Itself Protests Firing"

i6 acV) er

'^oredbY & oar(

^” enS Teacher Suspended for

; Using Book ‘1984'

teacher Ousted Over “1984”

GEORGE ORWELL’S

SENSATIONAL NOVEL THAT PROPHESIES THE
STATE OF THE WORLD IN YEAR 1984 — A.

WORLD IN WHICH INDIVIDUAL FREEDOM IS
ABOLISHED, YOUR EVERY THOUGHT TRANS-
MITTED TO YOU THROUGH MIND MACHINES.

EVERY MOVE YOU MAKE WATCHED BY TV rJ-.-J
SCREENS; LOVE FORBIDDEN. SEX OUT- lUlllUIIU
LAWED EVEN IN THE PRIVACY OF YOUR '*

THIS IS NOT SCIENCE-FIC-

Controversy over the discharge of a school teacher
who defended George Orwell's novel after it had
been censored by the school board was a ticket-
seller for Ed Linder when he played "1984" at the
Gopher Theatre in Minneapolis. The controversy
occurred at Wrenshall, not far from the Twin Cities.
Linder clipped newspaper articles and editorials on
the Wrenshall fuss and made up the above ad, (4
cols. 8 inches). This ad (also used on opening day)
really sold the picture, Linder reports, and Colum-
bia duplicated it for Minnesota upstate dates.

These four girls, left to right, twins Jean and Jeanette Peterson, sister Darlene Peterson and Kitty
DeFee, danced the twist all over Jacksonville, Fla., in ballyhooing "Hey, Let's Twist" for the Imperial
Theatre's first run. Here they are demonstrating in front of the theatre for downtown crowds.

Dance School Teams Go Around Town
Doing Twist; They're Hot, So's Hey.'

The downtown Imperial in Jacksonville,
Fla., which opened in World War I days to
become the first unit of the 55-house Flor-
ida State Theatres circuit, is still, after
nearly half a century, an important mem-
ber of FST’s top echelon first-run houses.
It’s main forte is the presentation of ac-
tion and exploitation films with a heavy
accent of appeal directed toward teen-
agers and young adults.

A fine example of how the Imperial’s
management team — Art Castner and as-
sistant Herb Ruffner — use their energy and
resourcefulness to capture the imagination
of youth groups and, incidentally, lead
them to the Imperial boxoffice and con-
cessions stands for landoffice business was
indicated by their skillful handling of the
first “twist” picture, “Hey, Let’s Twist!,” to
play in this area.

In the words of Ruffner: “Art and I
lined up Buddy Sherwood’s dancing school
for some talent to do the twist. Buddy
worked up a professional routine calling
for four girls and rehearsed the cast thor-
oughly three weeks before our opening play-
date. The girls wore black jeans and
sneakers, with two of them wearing pep-
permint striped satin jackets, and two in
peppermint satin blouses. They were paired
off in two teams and danced to a record-
ing of ‘The Peppermint Twist.’

“Buddy loaned us his station wagon,
which is equipped with a 12-volt sound
system, and Art had large, flashy ban-
ners made for the sides and rear of the
station wagon. Abe Livert, the owner of
four record shops, gave us a hundred gift
certificates good for $1 on twist records.
Stills and one-sheets advertised the tie-
up in all the Livert stores and on the side-
walk in front of the Imperial.

“The four girls proved to be happy and
enthusiastic performers and had the show-
manship to bring crowds of onlookers
wherever they went. And they went every-
where about town for a week — to all sub-
urban shopping centers, to high schools.

to the Naval air station, to playgrounds
and any place they could spot a crowd of
people. By using a station wagon, instead
of a flatbed truck, we were able to pull in
close to walkways and sidewalks and have
the girls go into their twisters right among
their audiences.

“We jammed the Imperial at a midnight
showing of ‘Hey, Let’s Twist! on New
Year’s Eve and marched right ahead into
some of the hottest business we have had
in some time. Art and I are going right
along with this twist craze because we have
a second twist picture booked in before
the end of January.”

The Imperial sidewalk and street bally-
hoo reached thousands of persons and
taught them what the twist is all about.
Another good thing about it was its in-
expensiveness to the theatre — another good
example of how exhibitors can induce pa-
trons to flock to their theatres by dint
of nothing more costly than advance plan-
ning and the hard work of carrying
through on a thousand small details of
execution.

Aids Scout Project

Leo Ricci has lined up Rotary Club
sponsorship of four opera films — to be
screened one each month during February,
March, April and May — at the Capitol in
Meriden, Conn. Proceeds will be used for
construction of an interfaith chapel at the
Deer Lake Boy Scout camp.

The films are Madame Butterfly, Tosca,
The Marriage of Figaro and Boils
Godunov.

Spendid ‘Drum Song' Tieup

George H. Mackenna of Basil’s Lafayette
in Buffalo had a splendid tieup with Decca
records and Sattler’s big department store,
which brought “Flower Drum Song” a six-
column, full-page-deep ad plugging the LP
album and the picture.

— 15 —

BOXOFFICE Showmandiser : : Jan. 22, 1962

Many Questions in Ads
About Claudeile

Will You Blame
CLAUDELLE INGUSH?

Make Your Own Decision
Tomorrow at R K 0 KEITH'S

Fifteen provocative teaser questions like
the above were prepared by S. L. Sorkin,
manager of RKO Keith’s at Syracuse, N.Y.,
for use in small ads, 20 lines (about 1%
inch) by one column, run throughout the
newspaper, except in the drama and
financial sections, a few days before open-
ing of “Claudeile Inglish.” The other
questions, adapted from the pressbook,
were:

Was “CLAUDELLE INGLISH" to blame for what
she did? Decide for yourself tomorrow at RKO
KEITH'S.

Why did they talk about "CLAUDELLE INGLISH"?
Tomorrow you will find out at RKO KEITH'S.

Is it any wonder why everyone will talk about
“CLAUDELLE INGLISH"? Come and see for your-
self at RKO KEITH'S.

"CLAUDELLE INGLISH" will be the talk of the
town. You will find out why tomorrow at RKO
KEITH'S.

Did "CLAUDELLE INGLISH" deserve her fate?
Decide for yourself tomorrow at RKO KEITH'S.

Was "CLAUDELLE INGLISH" a good girl or was
she bad? You'll find out tomorrow at RKO KEITH'S.

Was “CLAUDELLE INGLISH" to blame? Decide for
yourself at RKO KEITH'S TOMORROW.

Why will everyone be whispering about
"CLAUDELLE INGLISH"? You will find out at RKO
KEITH'S.

Wes "CLAUDELLE INGLISH" entirely at fault?
See for yourself at, etc.

"CLAUDELLE INGLISH" will be the talk of the
town! Tomorrow you will know why. See for your-
self at, etc.

Girls, can you blame "CLAUDELLE INGLISH"
for what she did? Make up your own mind at RKO
KEITH'S.

What happened to "CLAUDELLE INGLISH"? You
will find out tomorrow at RKO KEITH'S.

No one understood "CLAUDELLE INGLISH." Will
you? Make up your own mind tomorrow at RKO
KEITH'S.

"CLAUDELLE INGLISH" didn't care what anyone
said. Why? You will find out tomorrow at RKO
KEITH'S.

A radio station tied up for this contest:
“Girls, can you blame Claudeile Inglish for
what she did? See the picture Wednesday
and write your answer in 25 words or less.
Attach your ticket stub and send to the
manager of RKO Keith’s Theatre not later
'deadline). Best answer will receive guest
tickets. For full details listen to WOLF,
1490 on your dial.”

Three thousand leaflets with the same
copy were distributed. Lobby piece also
plugged the same idea.

A sneak preview Friday evening five days
in advance brought in some good com-
ments. Guest tickets were given to patrons
for their comments on cards.

After the sneak preview, Sorkin felt the
film ending was very dramatic and that
the picture would be spoiled for anyone
coming in within the last ten minutes so
he used this copy in all ads:

“Because of the shock ending, no one
will be seated during the last ten minutes
of ‘Claudeile Inglish’.”

Radio-Theatre Deal

Alfred Alperin, manager of the 2,070-car
Meadows Drive-In at Hartford, Conn., ar-
ranged with WPOP radio station to award
guest theatre tickets to drivers of cars ap-
proaching the Meadows boxoffice with a
WPOP “litter box” prominently displayed
in the vehicle’s rear seat compartment. In
return, WPOP is publicizing Meadows pro-
grams on disK jockey shows and the like.

CITATION WINNERS FOR DECEMBER 1961

Donald Clark, manager of the Odeon Theatre in Derby, Derby County, England.
Cited for a very fine promotion of “Greyfriars Bobby/’

•

Bill G. Brown, operator of the Rex Theatre, Nowata, Okla. Realistic front displays
he constructed for “The Pit and the Pendulum.”

•

Jerry Drew, manager of the Steinbeck, and Bob Horton, manager of the Hill, Mon-
terey, Calif. Their thorough “La Dolce Vita” campaign.

•

Walt Guarino, manager of the Saenger Theatre, New Orleans. Front and lobby dis-
plays for “Second Time Around.”

•

Paul D. Flowers, manager of the Loyola Theatre, Westchester section, Los Angeles.
He has developed a successful kiddy show series sponsored by a savings and loan
bank.

Al Allin, manager of the Odeon Theatre, Sarnia, Ont. For his success in creating
Small Fry Frolics, summer series for the youngsters.

Harry Boesel, manager of the Wisconsin Theatre, Milwaukee. Costume contest for
“King of the Roaring 20’s.”

•

Sam Mitchell, manager of the Slioppingtown Theatre, DeWitt, N. Y. Graphic front
display in behalf of “The Devil at 4 O’Clock.”

•

Bill Chambers, manager of the Plaza Theatre, El Paso, Tex. Roast Pig and Hawaiian
punch served at luau out in front of theatre for “Blue Hawaii.”

C. K. Simpson, manager, Odeon at York, York County, England. For his promotion
of a short subject, “The White Rose Wedding.”

"Mysterious Island" was featured in a total of nine Christmas parades throughout the southern Cali-
fornia area. A 42-foot float presenting highlights from the Columbia Christmas release was viewed by
more than 2,000,000 spectators and television viewers. Through a carefully worked-out schedule, the
float appeared in nine of the larger Christmas parades in as many days in the Los Angeles area where
"Mysterious Island" began a 25-theatre holiday engagement. The Christmas Lane parade in Hunting-
ton Park, one of the largest in America and the biggest in the west, was televised for two hours and
rebroadcast over a local station the following day. The "Island" float carried displays from the oction
drama, a giant crab, octopus, volcano, submarine, treasure chest and balloon.

IS-

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ire

— 16

BOXOFFICE Showmandiser :: Jan. 22, 1962

An interpretive analysis ot lay and tradepress reviews. Running time is in parentheses. The
plus and minus signs indicate degree of merit. Listings cover current reviews, updated regularly.
This department also serves as an ALPHABETICAL INDEX to feature releases. © is for
CinemaScope; ® VistoVision; © Superscope; ® Ponavision ® Regalscope; © Technirama.
Symbol SJ denotes BOXOFFICE Blue Ribbon Award; © color photography. For listings by
company in the order of release, see FEATURE CHART.

Review digest

AND ALPHABETICAL INDEX

FF Very Good; + Good; — Fair; Poor; — Very Poor.

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2552 After Mein Kampf

(74) Semidoc’y

Brenner

8-14-61 ±

—

3+3-

(84) Cartoon Feature .

AIP

7-17-61 +

2574 Anatomist, The (73) Dr....

. Gordon-SR

10-30-61 ±

—

2+3-

2562 Anatomy of a Psycho (75) Dr SR

9-18-61 -

2524 Anoel Baby (97) Drama .

5-15-61 FF

8+2-

2549 Armored Command (99) War

Dr AA

8- 7-61 +

2+2

5+2-

2578 Atlantic Adventure (62)

Real-life Adv. Dr

.Schoenfeld

11-13-61 +

. . Filmgroup

7- 3-61 +

12-11-61 +

■±2

+ 10+1-

■ 20th- Fox

12- 4-61 +

2+z

6+1-

(109) © Com

MGM

11- 6-61 F+

+ 10+

U-l

10-16-61 +|

10+1-

2569 Badjao (100) Action Dr

10-16-61 ±

4+1-

2545 Battle at Bloody Beach, The

.20th-Fox

7-17-61 +

7+4-

2531 Beware of Children (80) Con

AIP

6- 5-61 +

2+2

4+1-

8-28-61 +

7+1-

2566 Black Pit of Dr. M (71) Ho.. .

. . .UPRO

8- 2-61 ±

1+1-

Dr. . . Para

9-11-6L ±

2+2

7+6-

2579 Bloodlust (68) Horror

11-20-61 -

2+Z

6+1-

2566 Boy Who Caught a Crook (72)

Ac.. .UA

10- 2-61 +

—

2+2

—

4+5-

2543 Brainwashed (78) Dr

7-10-61 ±

7+1-

Cy Para

10- 9-61 f+

+ n+

2554 Bridge to the Sun (112) Drama.. MGM

8-21-61 FF

FF U+

6-12-61 +

8+2-

— C—

11-13-61 ±

—

3+2-

2583 Capture That Capsule! (75)

Action Drama

Riviera-SR

12- 4-61 ±

—

2+2

2+3-

2561 Cat Burglar, The (65) Ac Dr.

8-14-61 ±

2+1-

2588 Children's Hour, The (109) Dr... MGM

12-1S-6L FF

2558 Claudelle Inglish (99) Dr

9- 4-61 ±

2+2

7+4-

2550 Cold Wind in August (80) Dr. ..Aidart

8- 7-61 +

2+2

7+3-

. . . .MGM

12-25-61 +

2+2

6+2-

Outdoor Drama

. 20th-Fox 11- 6-61 tt

+ 10+

7-10-6L FF

FF 13+

2590 Continental Twist, The (78)

Mus.. .SR

12-25-61 +

±2

3+1-

2549 Creature From the Haunted Sea

(60) Horror Spoof

Filmgroup

8- 7-61 +

2521 Cry Freedom (90) Dr

. . Parallel

5- 8-61 ±

4+1-

— D —

5-22-61 +

8+3-

2559 Day the Sky Exploded, The

(80) Science-Fiction

. Excelsior

9-11-61 +

Panav’n, Western Path e- America

6-12-61 FF

2547 Dentist in the Chair (84) Com

Ajay

7-24-61 FF

6+1-

2594 Desert Patrol (78) War Drama.... U-l

1-.S-62 +

■H-

(127) Adv. Dr

Col

9-25.61 FF

FF 12+

2573 Devil’s Hand, The (71)

Horror-Terror

Crown-SR

10-30-61 ±

1+1-

2588 Double Bunk (92) Farce

Showcorp 12-18-61 +

2+2

4+2-

12-18-61 FF

FF 13+

2585 Errand Boy, The (92) Comedy

.... Para

12-11-61 +

2577 Everything's Ducky (80) Comedy. ... Col

11-13-61 -

±2

2+z

2+2

6+5—

Drama

12-26-60 FF

14+

2562 Explosive Generation, The

(90) Dr

9-18-61 +

2+2

7+1-

20th-Fox

7- 3-61 FF

FF 14+

2557 Fast Set, The (84) Comedy Audubon-SR

9- +61 ±

1+1-

2577 Fear No More (80) Suspense Dr. Sutton

11-13-61 +

2531 Five Golden Hours (90) Comedy

Col

6- 5-61 +

—

2+2

±.

2+2

6+5-

11- 6-61 +

—

2±2

2+2—

2563 Flight That Disappeared, The

(72) Science-F'n

9-25-6L +

7+4-

® Musical

... .U-l

11-20-6L FF

FF 12+

2538 Follow a Star (102) Comedy

. . Zenith

6-19-61 ±

—

3+3-

Religious Drama 20th-Fox

7-24-61 FI

FF 10+1-

2523 Gambler Wore a Gun, The (67) W’n. .UA

5-15-61 +

2+2

4+4-

2585 George Raft Story. The (105)

Biographical Drama

12-11-61 +

6-12-61 +

—

+ 8+1-

11-20-61 FF

. . Astor

7- 3-61 +

2563 Girls on the Run (64) Mys. . . .

. . Astor

9-25-61 ±

1+1-

2544 Goodbye Again (120) Dr

. . . . UA

7-10-61 +

FF 10+1-

2481 Great Impostor, The (112) Dr.

U-l

11-28-60 +■

+ 12+

2560 Great War, The (118) Drama . .

. . Lopert

9-11-61 +

FF 9+1-

2540 Green Helmet, The (88) Ac

. .MGM

6-26-61 +

—

2+2

± 6+4-

8-28-61 FF

FF 12+

2529 Gun Fight (62) Western . . . .

5-29-61 ±

2+2

—

4+3-

2587 Gun Street (67) Western

12-18-61 ±

—

1+2-

(81) © Adv. Dr

. . AIP

1- 8-62 ±

—

1+2-

Col

6-12-61 4F

FF 14+

— H —

2488 Hand in Hand (75) Dr.

Col

12-19-60 +

FF 13+

2572 Head, The (95) Horror Trans-Lux

10-23-61 +

—

2+2

—

3+4-

2590 Hey, Let’s Twist! (80) Musical.

. . . Para

12-25-61 +

2+2

6+2-

2535 Hitler’s Executioners (78)

Documentary

Vitalite

6-12-61 ±

3+1—

2539 Homicidal (87) Mys.

. . . .Col

6-26-61 +

+ 9+

. MGM

7-17-61 -H-

+ H+

- - AIP

5-29-61 +

2+z

5+3-

10- 2-61 +

FF 11+

- 1 —

(98) Widescope, War Dr

1-15-62 +

2+2

3+1-

Suspense Drama 20th-Fox

12-18-61 +F

2+2

FF 13+1-

2556 Invasion Quartet (87) Com-Dr

. .MGM

8-28-61 ±

2+2

± 7+3-

2574 Judgment at Nuremberg (189) Dr.

. . • UA

10-30-61 +

FF 14+

2592 Karate (80) Ac Dr

Brenner

1- 1-62 ±

1+1-

Religious Drama

. . MGM

10-23-61 +

FF 13+

2540 King of the Roaring 20's

(106) Cr. Drama

6-26-61 +

+ 8+1-

2582 Kitchen, The (74) Drama

Kingsley 11-27-61 +

± 5+1-

. . Para

6-12-61 f-f

± 9+2 -

Adv. Dr Sterling

World

9-18-61 +

. . .U-l

6- 5-61

-t-

+ 9+2-

2529 Last Time 1 Saw Archie, The

(98) Comedy

. . . . UA

5-29-61 +

7+1-

. .MGM

1-15-62 +

2563 Lisette (S3) Action Medallion

9-25-61 -

2593 Long and the Short and the

Tall, The (102) War Dr....

. Cont’l

1- 8-62 •+

8- 7-61 -H-

+ 10+

2593 Lost Battalion (83) War Dr

. . -AIP

1- 8-62 ±

2+1-

Comedy/Songs

. .MGM

6-12-61 +

2+2

—

2+2

+ 6+4-

12-25-61 +F

10+

—Mr—

2524 Mad Dog Coll (88) Ac Dr

. . .Col

5-15-61 +

± 7+3-

. .MGM

8-14-61 -H-

Comedy-Drama

. . .WB

11-20-61 FF

11+

2541 Man in the Moon (98) Com. . .Trans-Lux

7- 3-61 +

FF 7+

2562 Man-Trap (93) Ac Dr

9-18-61 +

—

2+;

2+2

+ 6+4-

Service comedy 20th-Fox

8-21-61 ±

2+2

± 6+5-

.Cont’l :

10-30-61 -H-

FF 12+

2546 Mary Had a Little (79) Comedy.

...UA

7-17-61 ±

2+2

—

3+4-

2576 Mask, The (83) Depth -dimension

Horror Drama

. . .wb :

11- 6-61 +

—

± 6+4-

Science-Fiction Drama

AIP

5-15-61 FF

+ 12+1-

2532 Matter of Monte, A (90)

Drama

. . .UA

6- 5-61 +

± 7+1-

BOXOFFICE BookinGuide ; : Jan. 22, 1962

REVIEW DIGEST

AND ALPHABETICAL INDEX In the summary Ff is rated 2 pluses, — as 2

P. G. Page

Title

Run Time

Type

Reviewed

Harrison’s

Reports

Variety

Film Dally

Hollywood

Reporter

Magazine

Parents'

New York
Dally News

Summary

Col

4-24-61

9-F

1- 8-62

-F

9+1-

. .UA

5-15-61

—

5+4-

6-19-61

-H

12+

MGM

6-12-61

7+3-

2538 Most Dangerous Man Alive (82) SF

Col

6-19-61

—

2+5-

2569 Mr. Sardonicus (90) Ho

. Col

10-16-61

—

6+3-

Anamorphic, Adv

. Col

12-18-61

-F

9+1-

— N—

..UA

7-10-61

—

11+1-

(70) Adv

UPRO

9- 1-61

1+1-

2553 Never Take Candy From a Stranger

(82) Psychological Dr

Omat

8-21-61

6-12-61

-F

2574 Ninth Bullet, The (90)

Adventure Dr Audubon-SR

10-30-61

■H

2591 No Love for Johnnie (110)

Drama Embassy

1- 1-62

10+

0 —

Panavision Comedy

Para

5-22-61

12+1-

2555 One Plus One (114) Dr

. . .SR

8-28-61

6+4-

2583 One, Two. Three (115) ® Comedy

12- 4-61

-f

13+

2554 Operation Camel (74) Serv. Gomedy

AIP

8-21 -a

1+1-

2589 Outsider. The (108) Drama

U-l

12-25-61

-±_

7+2-

— P—

2591 Pagan Island (60) Ad/ Cinema Syn

1- 1-62

1+1-

5-15-61

13+

. .UA

10- 2-61

-H-

. .U-l

5- 1-61

-4-

—

4+4—

(75) (D Adventure Filmgroup

12-11-61

—

1+1-

(87) Adv Crest-SR

9-11-61

10- 9-61

-f-

6+4-

. .AIP

8-14-61

-F

8+1-

(114) Comedy

. Para

5- 1-61

-F

11+

Comedy-Drama

..UA

11-13-61

11+1-

2515 Portrait of a Mobster (108)

Crime Drama

. .WB

4- 3-61

10+1-

2522 Portrait of a Sinner (96) Dr

AIP

5- 8-61

-F

Documentary Excelsior

5-29-61

2570 Pure Hell of SL Trinian’s,

The (94) Farce

Cont’l

10-16-61

—

3+3-

10-30-61

4+1-

Times

11-20-61

8+1-

2561 Queen o( the Pirates (SO)

® Sea Adv. (Eng-dubbed) ,

Col

9-18-61

“f

-b

3+2-

2S16 Question 7 (110) Dr

DeRochemont

4- 3-61

10+1-

2516 Raisin in the Sun. A (128)

Dr Col

4- 3-61

12+

2551 Rebellion in Cuba (80) Doc
2564 Respectful Prostitute, The

Dr IFD

8-14-61

2+1-

(74) Dr. (Eng-dubbed)

Times

9-25-61

-4-

2+2-

(122) © Drama

. 20th-Fox

5- 8-61

—

9+1-

5-29-61

H-

5+3-

2526 Right Approach, The (92)

. 20th-Fox

5-15-61

—

■4r

—

5+5-

Outdoor Action

MGM

5- 1-61

9+2-

2568 Risk, The (81) Drama . .

. . . . Kingsley

10- 9-61

The (103) Drama

12- 4-61

7+1-

Com. . . U-l

5-15-61

11+

2557 Rommel's Treasure (85) Ac
2564 Ruffians, The (86)

. . Medallion

9- 4-61

Susc. Dr. (Eng-dubbed)

. . . Ellis

9-25-61

— S —

2592 Sail a Crooked Ship (88)

2558 Sand Castle, The (70)

Comedy Col

1- 1-62

—

6+2-

True-Life Fantasy

DeRochemont

9- 4-61

2515 Saturday Night and Sunday

Morning (90) Drama

Coni' 1

4-17-61

minuses. fF Very Good; + Good; — Foir; — Poor; — Very Poor.

. . . . Para

9-26-60 Ft

11+1-

2551 Scream of Fear (81) Susp. Dr

Col

8-14-61 +

2569 Season of Passion (92) Dr. . .

10-16-61 +

■±2

-j_

9+3-

20th-Fox

11- 6-61 +

-+2

9+1-

2567 Secret of Deep Harbor (70)

Dr. . . UA

ID- 9-61 ±

—

3+5-

(80) © Adv. Dr

MGM

8- 7-61 +

■+-

5+3-

2561 Sergeant Was a Lady, The

(72) Service Comedy

U-l

9-18-61 +

—

5+5-

2570 Seven Women From Hell (88)

20th- Fox

10-16-61 +

—

5+2-

2539 Silent Call, The (63) C Dr...

20th-Fox

6-26-61 ±

—

6+4-

2594 Singer Not the Song, The

(129) © Drama

1- 8-62 +

7+1-

Drama

7-24-61 +

20th -Fox

5-29-61 44

—

8+2-

2591 Something Wild (112) Dr

1- 1-62 ±

-4-

5+3-

Dr.. .WB

9-11-61 44

44 14+

5-15-61 ±

—

6+5-

2536 Stop Me Before 1 Kill! (93)

Suspense Dr

Col

6-12-61 +

-b

6+1-

12- 4-61 44

44 1+F

Novelty

9- 4-61 ±

1+1-

10- 9-61 ±

6+3-

— T—

(97) Com. Dr

U-l

6-26-61 +

9+2-

. . 20th-Fox

1-15-62 44

2555 Teenage Millionaire (84)

Musical (some color is used)....UA

8-28-61 +

—

5+4-

MGM

7-10-61 +

7+2-

2534 Three Blondes in His Life

(73) Mystery Cinema Assoc

6-12-61 ±

—

2 + 3 -

2559 Three on a Spree (83) Comedy . . UA

9-11-61 +

—

4+3-

MGM

9- 4-61 +

9+1- ,

2542 Time Bomb (92) Suspense

Dr AA

7- 3-61 +

2+1-

2572 Town Without Pity (105)

Dr UA

10-23-61 44

10+2-

2541 Trouble in the Sky (76) Actlon-Dr. . . U-l

7- 3-61 ±

2+1-

2586 Trunk, The (72) Suspense Dr

Col

12-11-61 +

3+1-

2548 Truth, The (Le Verlte) (127)

Dr., Eng-dubbed

. . . Kingsley

7-24-61 44

. 20th- Fox

7-10-61 +

5+2-

2592 Twist Around the Clock (86)

Musical

Col

1- 1-62 +

- 4 -

7+4—

2589 Two Little Bears, The (81)

. .20th- Fox

12-25-61 ±

—

6+3-

Dr Col

6-19-61 44

+ 10+2-

2565 Two Women (106) Dr. (Eog dubbed)

Also with titles

. . .Embassy

10- 2-61 44

12+

2553 Unstoppable Man, The (68)

Suspense Drama

Sutton

8-21-61 +

(100) Comedy 20th-Fox

7-17-61 44

— V —

. . .Col

11-27-61 ±

3+5-

6-26-61 +

8+1-

— W—

. Col

5-22-61 ±

7+5

2586 Weekend With Lulu, A (91) Comedy. . Col

12-11-61 44

3-)-

Panavision, Musical Dr

. . .UA

10- 9-61 Ff

14+

2532 When the Clock Strikes (72)

Mystery

. . UA

6- 5-61 ±

—

-4-

—

4+5-

2584 Wild for Kicks (92) Dr

.Times

12- 4-61 ±

1+1-

6-19-61 +

7+4-

2565 Wild Youth (73) Dr Cinema

Assoc

10- 2-61 -

. MGM

11- 6-61 44

—

7+4-

A survey of world night spots..

. . WB

8-21-61 +

6+2-

— XYZ—

2547 You Have to Run Fast (73)

. . .UA

11-20-61 +

8+2-

Suspense Drama

. . .UA

7-24-61 ±

—

4+5-

2555 i) Young Doctors, The (102) Dr. .

. ..UA

8-28-61 44

13+1-

BOXOFFICE BookinGuide

Jan. 22, 1962

Feature productions by company in order of releose. Running time is in parentheses. © is for Cinemascope;
® VistaVision; ® Superscope; ® Panovision; (g) Regolscope; ® Technirama. Symbol (J denotes BOXOFFICE
Blue Ribbon Award; © color photography. Letters and combinations thereof indicate story type — (Complete
key on next page.) For review dates and Picture Guide page numbers, see REVIEW DIGEST.

Feature chart

ALLIED ARTISTS | U

AMERICAN INT'L | U

COLUMBIA | U

M-G-M | U

Angel Baby (97) D .6105

Joan Blondell, George Hamilton,
Mercedes MeCambridge, Salome Jens

Orson Welles, Ivo Payer,

Pierre Cressoy

Mad Dog Coll (88) Cr..534

K. Doubleday, B. Hayward
Five Golden Hours (90) . . . . D . .539
Ernie Kovacs, Cyd OharLsse
Stop Me Before 1 Kill

(93) © D. .535

Claude Dauphine, Diane Cilento

Mein Kampf (117) Doc.. 538

Kerwin Mathews. Tina Louise

Continent (90) Ad.. 113

Joyce Taylor, Anthony Hall

King of the Roaring 20’s

(106) Cr . 6107

David Janssen, Diane Foster,

Jack Careon, Diana Dors,

Mickey Rooney

Brainwashed (78) D..6108

Curt Jurgens, Claire Bkiom

(104) SF..607

Vincent Price, Charles Bronson,
Henry Hull, Mary Webster

Operation Camel (70) . ...C..605

Nora Hayden, Louise Renard

Homicidal (87) Ho.. 540

Glenn Corbett, Patricia Breslin

Most Dangerous Man Alive

(82) Ac 541

Ron Randell, Debra Paget,

Elaine Stewart

David Janssen, Joyce Taylor,

Frank Corshin

The Green Helmet (88) ..Ac.. 116
Bill Travers, Ed Begley,

Nancy Waiter’s

Armored Command (99) . Ac. .6109
Howard Keel, Tina Louise

(102) © D. 603

(109) 0 D 602

James Stewart, Richard Widmark,
Shirley Jones, Linda Cristal

Steve McQueen, Paula Prentiss,
Brigid Bazlen, Jim Hutton

Rory Calhoun, Patricia Bredin

(85) Panavision Ho.. 609

Vincent Price, John Kerr,

Barbara Steele. Luana Anders

Susan Hayward, Dean Martin,
Ralph Meeker

Steve Reeves. Georgia Moll

Scream of Fear (81) D . .605

Susan Strasberg, Ronald Lewis

The Trunk (72) D..606

Phil Carey, Julia Arnall

Richard Boone, George Hamilton,
Luana Patten

Twenty Plus Two (102) .. My. .6110

David Janssen, Jeanne Crain,

Dina Merrill, Agnes Moorebead

(127) 0 .607

Spencer Tracy. Frank Sinatra

A Weekend With Lulu (91) . C. .609

Leslie Phillips, Rob’t Monkbouse

Bridge to the Sun (112) . D..202

Carroll Baker, James Shigeta

Invasion Quartet (87) . . . . CD . . 203
Bill Travers. Spike Milligan

Don Megowan, Silvana Pampanini

Mr. Sardotiicus (90) ....Ho.. 611
Oscar Horn olka, Guy Rolfe

Vaftey of the Dragons (79) Ad. .612
Sean McCiory

Everything’s Ducky (81) . C..610

Mickey Rooney, Buddy Hackett

Queen of the Pirates

Glanra Maria Canale. M. Scrato

Rory Calhoun, Lea Massari

(109) © C..205

Bob Hope. Lana Turner, Janis Paige,
Jim Hutton, Paula Prentiss

The George Raft Story

(105) D .6111

Ray Danton, Jayne Mansfield,
Julie London, Barrie Chase

Planet (80) SF. 613

John Agar. Greta Thyssai

Lost Battalion (83) Ac.. 611

Leopold Salcedo, Diane Jergens

©Mysterious Island (101) Ad.. 613
(Super-Dynamation), anamorphic
Michael Craig, Joan Greenwood,
Michael Callan, Gary Merrill

Donald O'Connor, Vittorio de Sica,
Noelle Adam

Bashful Elephant (..).. 0D . .6201
Molly Mack, Buddy Baer

Michael Lemoine, Wandtsa Guida

Sail a Crooked Ship (88).. C.. 614
Robert Wagner, Dolores Hart,
Carolyn Jones. Ernie Kovacs

Twist Around the Clock

(83) M..616

Chubby Checker, Dion, the Marcels,
Vicki Spencer

Murder She Said (87) .. My. .208
Margaret Rutherford, Arthur
Kennedy

Hitler (..) BID..

Richard Basehart, Maria Emo

Walk on the Wild Side ( . . ) D . .

Laurence Harvey, Capucine,
Barbara Stanwyck, Jane Fonda

The Three Stooges Meet

Hercules (..) Ad.. 617

Stooges, Vicki Trickett

Underwater City () SF. 6'8

William Lundigan, Julie Adams

Olivia de Havilland. R. Brazzi,

G. Hamilton, Y. Mimieux

Glenn Ford, Ingrid Thulin,

Charles Boyer, Lee J. Cobb

PARAMOUNT

(88) ©

Tommy Sands. Fabian,

Bowl

C/M . .6018
Jan Sterling

Company (114) CO.. 6017

Fred Astaire. Debbie Reynolds

Danny Kaye, Dana Wynter

Elsa Martinelli

Man-Trap (93)
Jeffrey Hunter,
David Janssen

D. .6102

Stella Stevens,

(115) CD.. 6103

Audrey Hepburn, George Peppard

Elvis Presley, Joan Blackman,

Angela Lansbury

The Errand Boy (92) . . . .C. .6105
Jerry Lewis, Brian Donievy

Hey, Let’s Twist! (80) ..M..6108
Joey Dee and the Starliters,

Teddy Randazzo, Kay Armen

Too Late Blues (100) ...D..6109

Bobby Darin, Stella Stevens

(118) ® 0 . 6107

Laurence Harvey, Geraldine Page

BOXOFFICE BookinGuide Jan. 22, 1962

JULY | AUGUST I SEPTEMBER I OCTOBER I NOVEMBER I DECEMBER I JANUARY

FEATURE CHART

The key to letters and combinations thereof indicating story type: (Ad) Adventure Drama; (Ac) Action
Drama; (An) Animated-Action; (C) Comedy; (CD) Comedy-Drama; (Cr) Crime Drama; (DM) Dramo
with Music; (Doe) Documentary; (D) Drama; (F) Fantasy; (FC) Farce-Comedy; (Ho) Horror Drama; (Hi)
Historical Drama; (M) Musical; (My) Mystery; (OD) Outdoor Drama; (SF) Science-Fiction; (W) Western

20TH-FOX

(122) © 0 126

Carol Lynley. Eleanor Parker.

Jeff Chandler. Tuesday Weld
The Right Approach

Frankie Vaughan. Juliet Prowse,
Martha Hyer. Gary Crosby
©The Big Show (113) © Ad .123
Esther Williams. Cliff Robertson.
David Nelson

UNITED ARTISTS

A Matter of Morals (90). D .6108

Maj-Britt Nilsson. Patrick
O'Neal. Eva Dahlback
The Young Savages (103). D. 6114
Burt Lancaster, Shelley Winters,
Dina Merrill
The Gambler Wore a

Gun (67) W 6109

Jim Ilavis, Merry Anders

Gun Fight (62) W..6113

James Brown, Joan Staley

Battle at Bloody Beach

(80) © Ac. 128

A. Murphy. G. Crosby, D. Michaels

E. Presley, H. Lange, T. Weld

Carol Helss. Stooges

David Ladd. Arthur O'Connell

Z3 Walter Pidgeon, Joan Fontaine,
Barbara Eden. Frankie Avalon

The Silent Call (63) D. .119

Roger Mobley, David McLean.

Gail Russell

Linda Hutchins

Stephen Boyd, Juliette Greco,
David Wayne

(100) C..125

Michael Craig, M Demongeot

Snake Woman (68) ....Ho.. 6112

John McCarthy, Susan Travers

Bhonda Fleming. Lang Jeffries

Panavision D .6119

Lana Turner, Efrem Zimbalist jr.
The Last Time I Saw Archie

(98) C .6118

Robert Mitcbum. Jack Webb
When the Clock Strikes

(72) My.. 6116

James Brown, Merry Anders
The Naked Edge (102) My. .6120
Gary Cooper, Deborah Ken-

Goodbye Again (120) . .0 . 6125

Ingrid Bergman, Yves Montand,
Anthony Perkins

The Cat Burglar (65) Ac. 6121
Gregg Palmer, June KeuDey

Teenage Millionaire (84)

(partly in color) ... .C/M . .6126
Jimmy Clanton, Zasu Pitts,

Rocky Graziano

Seven Women From Hell

(88) © Ac. 140

Patricia Owens. Denise Darcel,
Cesar Romero, John Kerr

Ken 8cott, Leticia Roman

John Wayne, Stuart Whitman

Kent Taylor

Brenda Lee, Eddie Albert,

Jane Wyatt, Jimmy Boyd

(99) © C. .144

Debbie Reynolds, Steve Forrest,
Andy Griffith. Thelma Ritter,

Juliet Prowse, Ken Scott

You Have to Run Fast

(71) Ac .6122

Craig Hill, Elaine Edwards

Three on a Spree (83) . . . C . .6123
Jack Watllng, Carole Lesley
QThe Young Doctors (102) D..6128
Fredric March, Ben Gazzara,
Ina Balln, Dick Clark
©Exodus (212)

Panav’n 70 D..6129

P. Newman, E. M Saint, S. Mlneo
The Flight That Disappeared

(72) SF. .6129

Boy Who Caught a

Crook (72) D..6127

Craig Hill. Paula Itavmond
Town Without Pity (105) . . D . .6135
Kirk Douglas, Christine Kaufman
Secret of Deep Harbor

(70) Ac.. 6130

Explosive Generation (90) D..6134
Season of Passion (92) . .D..6133
A. Baxter. E. Borgnlne, J. Mills

Paris Blues (98) D..6131

Paul Newman, Joanne Woodward

Charles Bronson, Brad Dexter

Dead to the World (89) Ac.. 6202
Rudy Talton, Jana Pearce

Gun Street (67) W..6136

James Bro-wn, Jean Wllles

UNIVERSAL-INT L

ii WARNER BROS.

(137) CO. 6204

G. Ford, B. Davis, H. Lange

Judgment at Nuremberg

(189) D..6206

R. Tracy, B. Lancaster, R. Wldmarb,
M. Dietrich. M. Clift, J. Garland
(pre-release)

One. Two. Three (108) (g) C . 6208
James Cagney. Horst Buchholz,
Arlene FrancLs. Pamela Tiffin

Mary Had a Little (79) . . C . . 6203

Agnes Laurent, John Bentley

Something Wild (112) ... D..6210
Carrol 1 Baker. Ralph Meeker

The Happy Thieves (88) . . CD . . 6209
Rex Harrison, Rita Hayworth

Jennifer Jones. Jason Robards jr„ j r . ( p. Lavvford .1 Bishop
Joan Fontaine, Tom Ewell

Bobby Vee

(88) © Ad 6113

Linda Cristal, John Drew
Barrymore

(112) C. .6106

(91) Ho. 6115

Clifford Evans, Yvonne Itomaln
The Shadow of the

Cat (79) Ho.. 6116

Trouble in the Sky (76) . Ac .6118
Michael Craig. Elizabeth Seal

(97) CD. 6119

Sandra Dee, John Gavin

Blast of Silence (77) . D..6120
Allen Baron, Molly McCarthy

George Montgomery, Chnrito Luna

The Fabulous World of

Jules Verne (81) Ad.. 013

Ernest Revere. Louis Locke

Charles Holm, Mary Ann Shields

COMING

Troy Donahue. Claudette Colbert,
Karl Malden, Connie Stevens

Leslie Caron, Maurice Chevalier,
Charles Boyer, Horst Buchholz

Rock Hudson, Gina Loliobrigida,
Sandra Dee. Bobby Darin

Susan Hayward. John Gavin

The Sergeant Was a

Lady (72) C. .6202

Martin West, Venetla Bteveneon.
Bill William*

(133) © M 6203

Nancy Kwan. James Shigeta,
Miyostd Umeki
(pre-release)

Technirama 70 D..6204

Kirk Douglas, Sir Laurence Olivier,
Jean Simmons. Tony Curtis, Peter
Ustinov (regular release)

(103) Doc.. 151

A tour of world-famed night spots

Claudelle Inglish (99) D. .155

Diane McBain, Arthur Kennedy,
Will Hutchins, Constance Fwd

(124) D..154

Natalie Wood, Warren Beatty.

Pat H ingle, Audrey Christie

Troy Donahue, Connie Stevens,
Dorothy McGuire, Lloyd Nolan

The Mask (S3) D..156

Depth-Dimension

Paul Stevens, Claudette Nevin*

Mrs. Stone (103) D..159

Vivien Leigh, Warren Beatty

(129) © D..152

Dirk Bogarde, John Mills.

Mylene Demongeot

Rosalind Russell, Alec Guinness

ALLIED ARTISTS

The Big Wave Ad..

Sessue Iiayakawa

Billy Budd D . .

Peter Ustinov, Robert Ryan

©El Cid ® D. .

Reprieve . . - • D . .

Ben Gazzara, Stuart Whitman

AMERICAN -I NT’L

Burn, Witch, Burn Ho..

Janet Blair. Peter Cushing

Warriors Three Ac..

Jack Palance, Giovanna Ralli

COLUMBIA

Anthony Quinn. Silvana Mangano,
Jack Palance, Ernest Borgnlne

13 West Street D . .

Alan Ladd, Rod Steiger

The Notorious Landlady C..

Jack Lemmon, Klnv Novak,

Fred Astaire

Advise and Consent D..

Charles Laughton, Henry Fonda,
Walter Pidgeon, Gene Tierney

David Niven, Alberto Sordl,
Michael Wilding

Alec Guinness. Dirk Bogarde,
Anthony Quayle

MGM

(Ultra Panavision-70) ...Ad..
Marlon Brando, Trevor Howard,

©Jumbo M . .

Doris Day, Stephen Boyd,

Jimmy Durante

All Fall Down (..) D..211

Eva Marie Saint, Warren Beatty,
Karl Malden, Angela Lansbury

PARAMOUNT

Yul Brynner, Madlyn Rhue

John Wayne. Red Buttons
Hell Is for Heroes (..) ..D..6111
Steve McQueen, Bobby Darin
Fess Parker. Bob Newhart

Shirley MacLaine, Yves Montand,
Rob’t Cummings, Edw G. Robinson
©Siege of Syracuse (100) Ad. .6110
Rossano Brazzl, Tina Louise

Brush Fire ( . . ) D . .6112

John Ireland, Jo Morrow,

Everett Sloane

William Holden, Lilli Palmer

20TH-FOX

UNITED ARTISTS

Basil Rathbone. Estelle Wlnwood

Birdman of Alcatraz D..

Burt Lancaster. Karl Malden
The Children’s Hour (107) D..6211
Audrey Hepburn, Shirley MacLaine,
James Garner

Phaedra D . .

Melina Mercouri, Tony Perkin*

UNIVERSAL-INT'L

©Cape Fear D..

Gregory Peck, Polly Bergen

The Outsider D..

Tony Curtis, Jas. Franclscus

Gena Rowlands

Freud BID..

Montgomery Clift, Susannah York,
Susan Kotiner

Audie Murphy, Joan O'Brien

WARNER BROS.

Jeff Chandler, Ty Hardin

Robert Preston. Shirley lone*

Pete- Breek. Peg try McCav

The Couch (100) D..160

Shirley Knight, Grant Williams

Malaga (96) Ad. .161

Trevor Howard, Dorothy Dandridge,
Edmund Purdom

BOXOFFICE BookinGuide :: Jan. 22, 1962

FEATURE CHART

Short subjects, listed by company, in or-
der of release. Running time follows title.
Date is national release month. Color and
process as specified.

£ HO RTS CHART

ails ,
scons 1

O P

MISCELLANEOUS

AIDART

Cold Wind in August, A

(SO) Aug 61

Lola Albright, Scott Marlowe.
Herschel Bernard!

BUENA VISTA

yThe Absent-Minded Professor

(97) C . May 61

Fred MacMurray, Nancy Olson,
Keenan Wynn, Tommy Kirk

(123) C. . Jul 61

North (73) Ad.. Jul 61

Ray Bolger, Tommy Sands,

Annette, Ed Wynn
CONTINENTAL
Saturday Night and Sunday

Morning (90) D . Apr 61

Albert Finney, Shirley Ann Field

The Long and the Short and

the Tall (102) D. Sep 61

Laurence Harvey, Richard Todd
The Pure Hell of St. Trinian’s

(94) C.. Sep 61

Joyce Grenfell, Cecil Parker,

George Cole

Stuart Whitman

©Call Me Genius (105) C. . Oct 61
Tony Hancock. George Sanders
Never Let Go (..) . ...D.. Nov 61
Peter Sellers, Richard Todd,
Elizabeth Sellars
View From the Bridge, A

(. .) Jan 61

Carol Lawrence. Raf Vallone,
Maureen Stapleton
CREST FILMS

Lex Barker, Chelo Alonso
FILMGROUP

Haunted Sea (60) HoC..Sep61
Antony Carbone, Betsy Jones-More-
land

The Devil’s Partner (75) Ac Sep 61
Ed Nelson, Jean Allison, Edgar
Buchanan

Mijanou Bardot, Gerard Landry

GOVERNOR

Carry On, Nurse (89) C. .

Kenneth Connor, Shirley Eaton

Carry On, Constable (86) C. . Feb 61
Ken Connor. Leslie Phillips
KINGSLEY-UNION
Risk, The (81) ...D. ..Oct 61

Maria Grac'a. .1. M. do Hoyos
LOUIS DE ROCHEMONT

Question 7 (110) D . Apr 61

Michael Gwynn, Margarete Jnhnen
The Sand Castle (70) ..F.. Sep 61
Barry and Laurie Cardwell
OMAT

(100) D . May 61

Jack Palancc, Marla FclLx
Never Take Candy From a

Stranger (82) D . . Oct 61

Jear. Carter, Felix Aylmer

Simone Sienoret. Georges Marchal

(90) Panavision . ...W. Jul 61
Maureen O’Hara, Brian Keith,

Steve Cochran. Chill Wills

RCIP

The Devil’s Commandment

Gianna Maria Canale, Dirlo
D’Angelo. Charles Fawcett

Mark of the Devil (73) D . Jan 61
Maria Felix, Crox Alvarado
SHOWCORPORATION
Two-Way Stretch (87) C . Apr 61

Peter Sellers. Wilfrid Hyde White
Double Bunk (92) ...S. Nov 61

lan Carmichael, Janette Scott,
Sidney James

(74) F . Dec 61

(Puppets; voices of Old Vic Players)
UNITED PRODUCERS (UPRO)
Black Pit of Dr. M.

(72) Ho . . Mar 61

Ralph Rertrand. Gaston Santos

Siege of Sidney Street

( 93 ) Ad. . Mar 61

(70) Ad.. May 61

Marian Michael, Adrian Hoven

Jet Storm (91) D.. Sep 61

Richard Attenborough, Stanley
Baker, Diane Cilento, Mai
Zetterling

VALIANT-VITALITE

It Takes a Thief (94) . . D . .Feb 61
Jayne Mansfield, Anthony Quay'.e
Hitler’s Executioners

( 78 ) Doc. ■ Jun 61

WOOLNER BROS.

Mala Powers, Marshall Thompson

FOREIGN LANGUAGE

FRANCE I

Breathless (891 3- 6-61

Jean-Paul Belmondo, Jea* Setter* !

Beau Serge (87) 9-25-61 I

(CMPO) . .Gerard Blaln
Crime of M. Lange,

The (78) 11-13-61

(Brandon) . . (Jean Renoir classic)

Frantic (90) 8-28-61

(Times) . .Jeanne Moreau, M. Ronet

Joker, The ( 86 ) 10- 2-61

(Lopert) . . J-P Cassel, A. Aimee

(Times) . .Madeleine Robinson,
Jean-Paul Belmondo
Les Liaisons Dangereuses

(106) 1 - 8-62

(Astor) .. Gerard Philipe, Jeanne
Moreau, Annette Vadim
Love Game, The (85) .... 2-13-61
(F-A-W) . . Jean Pierre Cassel
Rules of the Game (104) 4-17-61

(Janus) . .Jean Renoir
GERMANY

Roses for the Prosecutor

(91) 11-13-61

(American-Metropolitan) . .

W. Ciller, Ingrid Von Bergen
The Girl of the Moors (87) 9- 4-61
(Casino) . .Claus Holm, Maria Emo
GREECE

Antigone (93) 9-25-61

(Norma) . .Irene Papas

Moussitsa (75) 6 - 5-61

(Greek Pictures) . .A. Vouyouklaki

ITALY

From a Roman Balcony

(84) 11-27-61

(Cont’I) . .Jean Sorel, Lea Massari
Girl With a Suitcase (108) 10-16-61
(Ellis) . .Claudia Cardinale

La Dolce Vita (175) 4-24-61

(Astor) . Marceilo Mastrolanni,

Anita Ekberg, Anouk Aimee

L’ A. ventura (145) 6 - 5-61

(Janus) . .Monica Vitti, Gabriele
Ferzettl, Lea Massari

Man Who Wagged His Tail, The
(91) 10- 9-61

(Cont’I) . .Peter Ustinov, Pablito
Calvo (Span-lang; Eng. titles)
Rocco and His Brothers

(175)' 7-17-61

(Astor).. A. Delon, A. Girardot
Two Women (105) .... 6-19-61

(Embassy) . . Sophia Loren,

Jean-Paul Belmondo

Wild Love (86) 5- 1-61

(Ellis) . .Franko Interlenghi

JAPAN

(Cory) Toshiro Mifune

Rice (118) 9-18-61

(SR) . . Yuko Moshizuki
Road to Eternity (181) . 2-27-61

(Beverly) . .Tatsuya Nakadai

POLAND

Ashes and Diamonds (105) 9- 4-61
(Janus) . . Z . Cybulski
Eve Wants to Sleep (93) 10- 9-61

(Harrison) . .Barbara Lass

Kanal (96) 11- 6-61

(Kingsley) . .T. Izewska, T. Janczar

SWEDEN

Devil’s Eye, The (90) 12-18-61

(Janus) . .Jarl Kulle, Bibi
Andersson

Secrets of Women (114) . . 9-18-61
(Janus) . . Eva Dahlbeck, Gunnar
Bjornstrand, Maj-Britt Nilsson
Unmarried Mothers (79) . . 3-13-61
(President) . .E. Etiberg, B. Logart
U.S.S.R.

Ballad of a Soldier (89) .. 1-3161
(Kingsley) . .Vladimir Ivashov,
Shanna Prokhorenko (also Eng-
dubbed)

Fate of a Man (100) 8-28-61

(UA) . .Sergei Bondarchuk
Summer to Remember, A

(80) 12-18-61

(Kingsley) . .B. Barkjatov, S.
Bondarchuk

2 o at ™

lz tr a

COLUMBIA

ASSORTED & COMEDY FAVORITES

(Reissues)

5436 Man or Mouse (18).. Jun 61

6421 Hot Heir (16!/ 2 ) ....Sep 61

6431 Caught on the Bounce

(15i/ 2 ) Oct 61

6432 Pleasure Treasure

(16) Nov 61

6433 Dance, Dunce, Dance

(18!/ 2 ) Dec 61

6422 Parlor, Bedroom and

Wrath (16) Nov 61

6423 Flung by a Fling (16).. Dec 61

6434 The Fire Chaser (16) Jan 62

CANDID MICROPHONE
(Reissues)

5555 No. 5, Ser. 2 (11).. Mar 61

5556 No. 6 , Ser. 2 (10!/ 2 ) . .Jul 61

6551 No. 1, Series 3 (11) Sep 61

6552 No. 2, Series 3 (10) Nov 61

6553 No. 3, Series 3 (10!/ 2 ) Jan 62

COLOR SPECIALS
5502 Rooftops of New York

( 10 ) May 61

COLOR FAVORITES
(Technicolor Reissues)

5613 The Jaywalker ( 6 J/ 2 ) May 61

5614 Topsy Turkey ( 6 V 2 ) . .Jun 61

5615 Punchy de Leon (6/z) ■ ■ Jul 61

6601 Red Riding Hood Rides

Again (7) Sep 61

6602 The Music Fluke (7) Sep 61

6603 Imagination (6/z) .... Oct 61

6604 The Miner’s Daughter

(6/z) Nov 61

6605 Grape-Nutty ( 6 ) Nov 61

6606 The Popcorn Story

( 6 '/ 2 ) Dec 61

6607 Cat-Tastrophy ( 6 ) . . . .Jain 62

6608 Wonder Gloves (7) . . . Jan 62

FILM NOVELTIES
(Reissues)

5835 Community Sings

No. 1, Ser. 13 (10) Mar 61

5854 Yukon Canada (10) . . . Apr 61

LOOPY de LOOP
(Color Cartoons)

5707 Fee Fie Foes ( 6 >/ 2 ) Jun 61

5708 Zoo Is Company (6/z) Jul-61

6701 Catch Meow ( 6 /z) ■ ■ . Sep 61

6702 Kooky Loopy (7) Oct 61

6703 Loopy’s Hare-Do (7).. Dec 61

6704 Bungle Uncle (7) ....Jan 62

MR. MAGOO REISSUES
(Technicolor)

5757 Capt. Outrageous (7) May 61

5758 Magog Goes West (6).. Jut 61

6751 Safety Spin (7) Sep 61

6752 Calling Dr. Magoo

6753 Magoo’s Masterpiece (7) Nov 61

6754 Magoo Beats the Heat

SPECIAL COLOR FEATURETTES

5442 Splendors of Paris

(19) May 61

5443 Wonderful Greece (19) Jun-61

6441 Images of Luangua

(18) Oct 61

6442 Wonderful Israel (19).. Dec 61

SERIALS

(15 Chapter-Reissues)

4160 King of the Congo . .Jun 60
5120 Son of Geronimo . . . . Nov 60
5140 The Great Adventures of

Captain Kidd Mar 61

5160 Cody of the Pony

Express Aug 61

STOOGE COMEDIES
(Reissues)

5405 Knutsy Knights

(17i/ 2 ) Feb 61

5406 Shot in the Frontier

(16) Apr 61

5407 Scotched in Scotland

(15>/ 2 ) May 61

5408 Fling in the Ring

(16) Jul 61

6401 Quiz Whiz (15V 2 ) Sep 61

6402 Fifi Blows Her Top

(W/z) Oct 61

6403 Pies and Guys (16/z) Nov 61

6404 Sweet and Hot (17).. Jan 62

THRILLS OF MUSIC

(Reissues)

5953 Skitch Henderson & His

Orchestra (10) Feb 61

5954 Boyd Raeburn & His

Orchestra (11) May 61

WORLD OF SPORTS

5802 Hip Shooters (9>/ 2 ) . . Feb 61

5803 Water-Sports Champs

(10) Apr 61

5804 Dogs Afield (lO*/*) . . . . Jun 61

6801 Aqua Ski-Birds (9</ 2 ) . . Oct 61

2 o aj

O.Z CCO

M-G-M

GOLD MEDAL REPRINTS
(Technicolor Reissues)

All 1.75-1 Ratio

Tom and Jerrys

W261 Pet Peeve (7) Sep 60

W262 Mice Follies (7) Sep 60

W263 Touche Pussy Cat (7) Sep 60
W265 Southbound Duckling

(7) Sep 60

W266 Neopolitan Mouse (7) Sep 60
W267 Pup on a Picnic (7) Sep 60
W269 Downhearted Duckling

(7) Sep 60

W272 Mouse for Sale (7).. Sep 60

W273 Cat Fishin’ (8) Sep 60

W274 Part Time Pal (8).. Sep 60
W275 Cat Concerto (7) .... Sep 60
W276 Dr. Jekyl and Mr.

Mouse (7) Sep 60

(1961-62)

W361 Switchin’ Kitten (9) Sep 61
W362 Down and Outing (7) Oct 61
W363 Greek to Me-ow ( . . ) Dec 61

PARAMOUNT
COLOR SPECIALS
(2 Reels)

B20-1 Carnival In Quebec

(16) Sep 60

B20-2 Boats a-Poppin’ (18)

(Anamorphic) Sep 60

B20-3 Lifeline to Hong Kong

(17) Anamorphic Apr 61

B21-1 Spring in Scandinavia

(15) Nov 61

B21-2 Fireaway. Story of a

Trotter (..) Nov 61

MODERN MADCAPS
(Technicolor)

M20-4 Phantom Moustacher

(6) Jan 61

M20-5 Kid From Mars (6) Mar 61
M20-6 Mighty Termite (6) Jun 61

M21-1 Plot Sickens (..) Oct 61

M21-2 Crumley Cogwheel (..) Oct 61
M21-3 Popcorn &

Politics (..) Nov61

N0VELT00N

(Technicolor)

P20-3 The Lion’s Busy (6).. Mar 61
P20-4 Goodie the Gremlin

(6) Apr 61

P20-5 Alvin’s Solo Flight (7) Apr 61
P20-6 Hound About That (6) Jun 61

621-1 Munro (9) Sep 61

P21-2 Turtle Scoup (..)... Sep 61
P21-3 Kozmo Go«s to

School 6..) Nov 61

POPEYE CHAMPIONS
E21-1 Fireman’s Brawl (..) Sep 61
E21-2 Toreadorable ( . . ) . . Sep 61

E21-3 Popeye, the Ace of

Space ( . . ) Sep 61

E21-4 Shaving Muggs (..) Sep 61
E21-4 Taxi Turvey ( . . ) . . Sep 61

E21-6 Floor Fiusher ( . . ) Sep 61
SPORTS ILLUSTRATED
(Anamorphic — Color — 1 Reel)
D20-4Ten Pin Tour (9).... Apr 61

D20-5 Speedway (10) May 61

CARTOON SPECIAL
A-21 Abner the Baseball 2 Reel

(12/z) Sep 61

TRAVELRAMA
(Anamorphic-Color-1 Reel)
T20-1 Pcrpoise Posse (10) . . Mar 61

20th CENTURY-FOX
MOVIETONE CINEMASCOPES
(Color, unless specified)

7103 Adventure in Rhythm

(9) Apr 61

7104 Assignment Egypt (9) May 61

7106 Assignment Singapore

& Malaya (10) Jun 61

7107 Hills of Assisi (10) . . .Jul 61

7108 Assignment Pakistan (9) Aug 61

7109 Ski New Horizons (10) Sep 61

7110 Assignment India (9) Oct 61

71 11 A -a r»

7111 Assignment South

Africa (10) Nov 61

7112 Sound of Arizona (10) Dee 61
7201 Sport Fishing Family

Style (8) Jan 62

TERRYTOON 2-D’s
All Ratios — Color

5122 Cat Alarm (6) Feb 61

5123 Drum Roll (7) Mar 61

5124 Railroaded to Fame

(7) May 61

5125 The First Fast Mail

(6) May 61

5126 Sappy New Year (7) Dec 61
5221 Klondike Strike

Out (7) Jan 62

TERRYTOON CINEMASCOPES

5107 Unsung Hero (6) Jul 61

5108 Banana Binge (6) . .Jul 61

5109 Meat, Drink and Be

Merry (6) Aug 61

5110 Really Big Act (6) ...Sep 61

5111 Clown Jewels (6) ..Oct 61

5112 Tree Spree (6) . . Nov 61

5201 Honorable House

Cat (6) Jan 62

TERRYTOONS

(Color-CinemaScope)

5101 Night Life in Tokyo

(6) Feb 61

5102 So-Sorry, Pussycat (6) Mar 61

5103 Son of Hashimoto (7) Apr 61

5104 Strange Companion (6) Apr 61

5105 Honorable Cat Story (6) Jun 61

5106 Crossing the Delaware

(6) Jun 61

UNIVERSAL-INT’L
COLOR PARADE

4171 Valley of the Mekong

(9) Nov 60

4172 The Lion City (9).. Dec 60

4173 Treasure of Istanbul (9) Jan 61

(8) Apr 61

WALTER LANTZ CARTUNES
(Technicolor . . Can be projected In
the Aanmorphic process, 2.35-1)
(All run between 6 and 7 miin.)
4111 Southern Fried Hospitality

(Woody Woodpecker) .... Nov 60

4112 Fowled Up Falcon

(Woody Woodpecker) .... Dec 60

4113 Poop Deck Pirate

(Woody Woodpecker) ... Jan 61

4114 Rough and Tumble-Weed Jan 61

4115 Eggnapper Feb 61

4116 The Bird Who Came to
Dinner (W. Woodpecker) Mar 61

4117 Gabby’s Diner (Woody

Woodpecker) Mar 61

4118 Papoose on the Loose. . Apr 61

4119 Clash and Carry Apr 61

WALTER LANTZ REISSUES

(Color Cartunes. Can be projected
in the Anamorphic process, 2 35-1)

4131 He'ter Shelter ( 6 ) ... Nov 60

4132 Witch Crafty ( 6 ) Dec 60

4133 Private Eye Pooch ( 6 ) Jan 61

4134 Bedtime Bedlam ( 6 ) . Feb 61

4135 Squareshootin' Square

( 6 ) Mar 61

4136 Bronco Busters ( 6 ) . . . Apr 61

SPECIAL

4104 Football Highlights of

1960 (10) Dec 60

2-REEL COLOR SPECIALS
4101 Pacific Paradise (14) Nov 60

WARNER BROS.

BLUE RIBBON HIT PARADE
(Technicolor Reissues — 7 min.)

8312 The Lion’s Busy May 61

8313 Thumb Fun Jun 61

8314 Corn Plastered Jul 61

8315 Kiddin’ the Kitty Aug 61

8316 Ballot Bex Bunny ...Apg61

9301 A Hound for Trouble Sep 61

9302 Strife With Father Sep 61

9303 The Grey Hounded Hare Oct 61

9304 Leghorn Swaggled Nov 61

9305 A Peck of Trouble. ... Dec 61

9306 Tom-Tom Tomcat Jan 62

9307 Sock-a-Dood'e-Do Feb 62

9308 Rabbit Hood Mar 62

BUGS BUNNY SPECIALS

(Technicolor — 7 min.)

8723 The Abominable Snow

Rabbit May 61

8724 Compressed Hare Jul 61

9721 Prince Violent Sep 61

9722 Wet Hare Jan 62

MERRIE MELODIES
LOONEY TOONS
(Technicolor — 7 min.)

8711 Birds of a Father ...Apr 61

8712 D’Fightin’ Ones Apr 61

8713 Lickety-Splat Jun 61

8714 A Scent of the

Matterhorn Jun 61

8715 Rebel Without C’aws Jul 61

8716 The Pied Piper of

Guadalupe Aug 61

9701 Daffy’s Inn Trouble. .. .Sep 61

9702 What’s My Lion’ Oct 61

9703 Beep Prepared Nov 61

9704 The Last Hungry Cat . Dec 61

9705 Nelly’s Folly Dec 61

9706 A Sheep in the Deep . Feb 62

9707 Fish and Slips Mar 62

9708 Quackodile Tears Mar 62

WORLD-WIDE ADVENTURE
SPECIALS
(Color Reissues)
(Two-Reel)

8002 The Man From New

Orleans (20) Mar 61

8003 Winter Wonders (18) Jul 61
9001 Where the Trade Winds

P'ay (17) Oct 61

9002 Fabulous Mexico (18) Mar 62
(One Reel)

8502 Alpine Champions (10) Feb 61

8403 Kings of the Rockies

(10) Apr 61

8404 Grandad of Races (10) May 61

8505 Snow Frolics (9) lun 61

8506 Hawaiian Sports (9) . Aug 61

9501 This Sporting World

(10) . . Nov 61

9502 Emperor’s Horses (9) . . Dec 61

9503 Wild Water Champions

(9) Feb 62

BOXOFFICE BookinGuide :: Jan. 22, 1962

THE

XHIBITOR HAS HIS SAY

■hmhhiABOUT P I C T U R E Sesbotss

f Ticklish ' Theme Okay
In Southern Booking

We held off playing AA's " I Passed for White 1 '
here on account of the subject matter, but after
screening it we decided it would be all right to
play. So we gave it a three-day run to very good
business. Both colored and white attendance
was up all three days. Play it and they'll come
see it, if only out of curiosity.

B. L. BROWN JR.

Arcade Theatre,

Sandersville, Go.

ALLIED ARTISTS

Angel Saby (AA) — Salome Jens, George Hamilton,
Mercedes McCambridge. This was good of its type.
D.d prcity good business. Good cast. Worth playing.
Played Wed., Thurs. — S. T. Jackson, Jackson Theatre,
Flomaton, Ala. Pop. 1,480.

AMERICAN-INTERNATIONAL

Pit and the Pendulum (AIP) — 'Vincent Price, John
Kerr, Barbara Steele. Very good. Worth a playdate.
Played Mon., Tuea. — S. T. Jackson, Jackson Theatre,
Flcmcton, Ala. Pop. 1,480.

BUENA VISTA

Nikki, Wild Dog of the North (BV) — Jean Coutu,
Emil Genest. Disney must be slipping. His pictures
just do not draw any more like they used to. We had
a lor of small fry, but that just does not pay the
bills. Sure will be glad when these kids grow up and
hu' adult t ckets. Played Sat., Sun., Mon. Weather:
Drizzling rain. — Carl P. Anderka, Rainbow Theatre,
Castroville, Tex. Pop. 1,500.

COLUMBIA

Pepe (Col) — Cantinflas, Shirley Jones, Dan Dailey.
I'm glad they cut 45 minutes out of the original,
but it is still 'way too long, at least for a small
town. Cantinflas is no draw in a small town either.
Business a little above average. — Don Stott, South-
wind Theatre, Solomons, Md. Pop. 950.

Raisin in the Sun, A (Col) — Sidney Poitier, Claudia
McNeil, Ruby Dee. Sure guessed wrong on this
cne — very good program, too. So we went in the
rod ago n this week. Weather: Cold. — Carl Veseth,
Villa Theatre, Malta, Mont. Pep. 2,100.

Two Rode Together (Col) — James Stewart, Richard
Widmark, Shirley Jones. This was a very good picture.
Much better than I thought it would be. Played Fri .,
Sat. — S. T. Jockson, Jackson Theatre, Flomaton, Ala.
Pop. 1,480.

METRO-GOLDWYN-MAYER

Thief of Baghdad (MGM) — Steve Reeves, Georgia
Moll. The kids really had a ball with this one, which
not cnly has action and color but plenty of comedy
and romance tco. We have always had better than
average b z with a Steve Reeves pic. Keep them
roll ng! Played Thurs., Fri., Sat. Weather: Nice. —
Paul Fournier, Acadia Theatre, St. Leonard, N. B.
Pop. 2,150

Thunder of Drums, A (MGM) — Richard Boone,
G: orge Hamilton, Luana Patten. Although this has
r and CinemaScope and a good cast plus a good
story, this failed to click here. Played four days to
below average business. Might do okay if played one
or two days. Played Sun. through Wed. Weather:
Fair. — B. L. Brown jr.. Arcade Theatre, Sandersville,
Ga. Pop. 5,424.

Village of the Damned (MGM) — George Sanders
Bcrbara Shelley. I don't care for this stuff myself)
bu: t really cppec’s to my customers. It is fine for
a smell town, commercially. — Don Stott, Southwind
Theatre, Solpmons, Md. Pop. 950.

PARAMOUNT

Elue Hawaii (Para) — Elvis Presley, Joan Blackman,

. .. Walters. Very good Presley. Hope he can
stoy with Paramount and bypass Fox. "Blue Hawaii"
is the type picture his fans want to see him in.
Beaut. ful scenery in this. — S. T. Jackson, Jackson
Theatre, Flomaton, Ala. Pop. 1 ,480.

Love in a Goldfish Bowl (Para) — Tommy Sands,
Fobian, Toby Michaels. This one is a real dog. Some
exhibs may think I'm a little on the fanatic side
when I say Khrushchev would like for us all to show
this one to the kids for free. He might even take
core of the boxoffice, who knows. Never have I seen
kids get away with such stuff on the screen. What
has happened to the old-fashioned, good-clean-
wholesome movie? Disney is still pockin' 'em in with
h:s. — C. H Crenshaw, Lyric Drive-In, Balmorhea
Tex. Pop. 500.

Cne-Eyed Jacks (Pora) — Marlon Brando, Karl Mal-
den, Katy Jurado. I do not think the title helped this
super western very much. It is in beoutiful color and
well directed. I believe it makes a good movie bet-
ter if the actors share in the directing. Played
Wed., Thurs. Weather: Good. — B. Berglund, Troil

Theotre, New Town, N. D. Pop. 1,00.

Pleasure of His Company, The (Para) — Fred Astaire,
Debbie Reynolds, Tab Hunter. This is a real slick
one! Of course nothing slick ever does much business
in a small town. This was no exception. Ho hum!
Art house, anyone? — Don Stott, Southwind Theatre,
Solomons, Md. Pop. 950.

20th CENTURY-FOX

All Hands on Deck (20th-Fox) — Pat Boone, Bar-
bara Eden, Buddy Hackett. A very fine comedy which
failed at the boxoffice here. Just can't seem to get
them in on Sunday nights any more. I can't under-
stand why this didn't do better. Dennis O'Keefe very
good in this and hope to see more of him in roles
like this. Played Sun., Mon. Weather: Rainy and
cool. — -James Hardy, Shoals Theatre, Shoals, Ind.
Pop. 1,555.

Battle at Bloody Beach (20th-Fox) — Audie Murphy,
Dolores Michaels, Gary Crosby. Audie was his usual
good self in this picture. It gave us a chance to
see what he went through "over there." It takes
Audie on a horse to get his fans out here — and
given the correct vehicle Audie can be just as good
a draw as the other boys are in t'heir big western
epics. But "Bloody Beach!' sure flopped. Weather:
Cool. — Fred Veseth, Villa Theatre, Malta, Mont. Pop.
2 , 100 .

Marines, Let's Go. (20th-Fox) — Tom Tryon, David
Hedison, Linda Hutchins. Here's a good little picture
in color and CinemaScope that will please the aver-
age moviegoer. Has plenty of action and comedy to
make it good entertainment for everyone. Played
Sun., Mon., Tues. Weather: Good. — B. L. Brown jr. ,
Arcade Theatre, Sandersville, Ga. Pop. 5,424.

UNITED ARTISTS

Goodbye Again (UA) — Ingrid Bergman, Yves Mon-
tand, Tony Perkins. Good picture, if you like a good
love story. However, I advise small town theatres to
think twice before booking. Good for cities. It was
no moneymaker for us. Played Sun., Mon., Tues.
Weather: Snow. — Kenn Spaulding, asst, mgr., Bijou
Theatre, Morrisville, Vt. Pop. 3,450.

Magnificent Seven, The (UA) — Yul Brynner, Steve
McQueen, Horst Buchholz. We recently reopened the
Ford with this wonderful film. Competition was
rough, as there were two ball games, one each nigkt.
Business was fair anyhow. Brynner was great. Played
Fri., Sat. — Steve Durbin, Garold Shoemaker, Ford The-
atre, Griggsville, III. Pop. 1,200.

Naked Edge, The (UA) — Gary Cooper, Deborah Kerr,
Eric Portman. This was Gary Cooper's last picture
so it did good business, but not as good as we had
expected. Deborah Kerr was good in this. Good pic-
ture and suspenseful all the way through. It really
has a surprise ending. The teaser trailer from Na-
tional Screen was better than the regular one. Played
Sun. through Thurs. Weather: Fair. — B. L. Brown jr.,
Arcade Theatre, Sandersville, Ga. Pop. 5,424.

UNIVERSAL-INTERNATIONAL

Tomboy and the Champ (U-l) — Candy Moore, Ben
Johnson, Rex Allen. No booze ... no sex ... no
international complications. Made by Americans in
America for Americans. Little situations — play it. We
had more compliments on it than on any other pic-
ture in a long time. — John' M. Bailey, Opera House,
Miltonvale, Kas. Pop. 911.

WARNER BROS.

Parrish (WB) — Troy Donahue, Claudette Colbert,
Karl Malden. Played this two weeks before Christmas,
which was a bad time for show business, also had
snow and zero weather, therefore we had a low box-
office. However, the picture is excellent and should
do well under better conditions. Played Sun., Mon.,
Tues. Weather: Cold. — Mel Danner, Circle Theatre,
Waynoka, Olcla. Pop. 2,018.

MISCELLANEOUS

Tom, Dick and Harriet (12-minute short subject).
Here's another free short subject which I think rates
even better than the free short I recommended re-
cently. We just finished playing "Tom, Dick and
Harriet" v/hich plugs the telephone, but your audi-
ence won't realize it. It stars Jim Backus and the
Sportsmen quartet in color. It's a wonderful fill-in
for these expensive short features. Play it, you'll
be glad you did. Backus is great in this one. We got
it from Joe Loeffler (Lomac Distributing Co.) in
Minneapolis. Minn. — George Jonckowski, Prague The-
atre, New Prague, Minn. Pop. 1,917.

Encore lor Colorful ,
Youthful Western

We doubled the fine western "The Young
Land" (Columbia, with Pat Wayne, Dennis Hop-
per, Yvonne Craig) with Howco's "High School
Caesar." This program played to pretty good
business even though it was the second time
around for "Land." We constantly hear the
cry for more westerns of this type. "High School
Caesar" is all right as the companion feature.

I. ROCHE

Starlite Drive-In,

Chipley, Fla.

FOREIGN LANGUAGE
FEATURE REVIEWS

La Belle Americaine F Farce-Comedy ^
Continental 100 Minutes Rel. Jan. '62

A mad and merry slapstick comedy, replete
with old-fashioned chases, falls in the mud
and mixups with the police in the Mack Sen-
nett tradition, this French-language film is
strong fare for the art houses, especially in
key cities where Robert Dhery and his wife,
Colette Brosset, scored in their "La Plume de
Ma Tante" in 1960 and 1961. The picture is
almost a Gallic version of "Around the World
in 80 Days" in that a score of famous French
stage-screen stars make brief guest appear-
ances but, except for Jacques Charrier (hand-
some star of “Babette Goes to War" and "The
Chasers"), they are not familiar to U.S. movie-
goers. A coproduction of Carlton-Continental,
it was made in Paris by Henry Diamont-
Berger and Arthur Lesser with Dhery direct-
ing, mostly at a break-neck pace. He and Miss
Brosset play a middle-class couple who buys
an elegant white American convertible (La
Belle Americaine of the title) from a vin-
dictive widow who sells it at a bargain price
because the proceeds will go to her late hus-
band's mistress. The fine car runs out of gas,
Dhery is locked in the trunk, mistaken for an
official by the Minister of Commerce, who
wants a ride in the car (the picture's most
hilarious scene), the police arrest him and, in
the end, La Belle Americaine is wrecked but
is turned into an ice cream cart. Dhery, who
also collaborated on the screenplay, is ideally
cast as the mild-mannered hero and Mile.
Brosset is fine as his wife. Of the others,
Louis De Funes is a delight in two excitable
roles and Annie Ducaux of the Comedie

Francaise is a vision as the glamorous widow, tre

Robert Dhery, Colette Brosset, Alfred

Adam, Annie Ducaux, Bernard LaValette.

Night Affair A Mystery Drama

President Films 92 Minutes Rel. Dec. '61

Two of France's top film stars, Jean Gabin
and Danielle Darrieux, the latter also known
through several British-made pictures, includ-
ing the current "Loss of Innocence," plus that
beauteous "Rosemary" girl, Nadja Tiller, add
stature to this Orex Film French-language
entry. A murder-mystery laid in the shady
nightclub section of Paris, this could either be
an art house attraction on its marquee names
or, if sensationally exploited, play the down-
town key city houses. The dope addiction and
prostitute angles make it strictly adult fare.
As always, the aging but still handsome
Gabin gives a convincing portrayal of a
homicide detective and Miss Tiller is lovely
and capable as a melancholy cabaret song-
stress addicted to drugs and men, but it is
Mile Darrieux who stands out as a cool and
calculating lady pharmacist who is Gabin's
prime suspect in the murder of a nightclub
owner. Although she gets "guest star" billing,
•she is most important to the development ol
the plot. Hazel Scott, American Negro chan-
teuse, plays the piano and warbles briefly in
a nightclub sequence, but her name has addi-
tional selling value. Well directed by Gilles
Granger with many authentic shots of Paris
night life, the picture was released in France
in 1958 as "De Desordre Et La Nuit."

Jean Gabin. Nadja Tiller, Danielle Dar-
rieux, Hazel Scott, Paul Frankeur.

Daniel Mann directed Columbia’s “Five
Finger Exercise” from a screenplay by
Frances Goodrich and Albert Hackett.

BOXOFFICE BookinGuide Jan. 22, 1962

Opinions on Current Productions

Feature reviews

Symbol © denotes color; © CinemaScope; ® VistaVision; © Superscope; ® Panavision; ® Regalscope; ® Teehniromo. For story synopsis on eoth picture, see reverse side.

The Day the Earth Exploded F S Comedy Drama

Univ.-Int'I. ( ) Rel. May '62

ai ] s ‘ Here is a thriller par excellence, as startling as it is

scons realistic, which will hold audiences spellbound from the
■- opening shot to its frightening climax. This Val Guest
British-made film, in association with Pax Films, will need
strong selling to offset the lack of boxoffice names, but it
should build steadily on favorable word-of-mouth and chalk
up long runs in the art spots and, later, do well generally.
For this story, written by Wolf Mankowitz and Guest, who
produced and directed, deals with a climactic upheaval due
to nuclear tests and is as topical as today's news headlines.
Told largely against the background of a newspaper office,
with Arthur Christiansen, real-life editor of the London Daily
Express, playing himself, the pressroom activity and some-
what-racy dialog are absolutely authentic while the scenes
of evacuated London, plus a few special effects of dried-up
rivers and oceanic iidal waves, are startlingly real. The
picture can be compared only to the memorable "Seven
Days io Noon," which was far ahead of its time, as regards
boxcf ice potential, in 1951. The only familiar player, Janet
Munro, adds a wholly convincing and charming romantic
element while newcomer Edward Judd shows star potential
and Leo McKern end Michael Goodliffe are outstanding.
Janet Munro, Leo MrKern, Edward Judd, Michael Goodliffe,
Arthur Christiansen, Edward Underdown, Reginald Beckwith.

The Happy Thieves F ££ C ” M,

United Artists (6209) 88 Minutes Rel. Jan. '62

Recent national and international headlines revealing the
thefts of valuable art masterpieces should help to provide a
ready-made audience for this timely farce dealing with the
confiscation of a pair of famous oil paintings. Add to this
the marquee draw of cast toppers Rita Hayworth and Rex
Harrison, plus a suspensef >1, often highly amusing screen-
play, and there is no apparent reason why the offering
should not add up to satisfactory boxoffice. Harrison gives
his usual debonair performa ice in the role of a suave crook,
_ remindful of the renowned Jimmy Valentine, while, as his
reluctant partner in crime, Miss Hayworth provides glamor
O F in a wardrobe created by Balmain and Rodrigues. For the
armchair traveler, there is the authentic background of
Spain and, although the viewer might wish the scenic
beauties had been lensed in brilliant color, the stark black
and white photography is outstanding, particularly in the
bullfight sequences. John Gay's script, based on Richard
Condon's novel, "The Oldest Confession," is crisp and
crackling with sharp, witty dialog. Direction by George
Marshall is fast-paced, aided by a clever musical score by
Mario Nascimbene that sustains a mirthful mood throughout
the production.

Rex Harrison, Rita Hayworth, Joseph Wiseman, Gregoire
Aslan, Alida Valli, Virgilio Texera, Peter Uling.

Then There Were Three F S War Dfama

Parade-States Rights 82 Minutes Rel. Jan. '62

This Alex Nicol production, with veteran character thes-
pian Nicol the sole known performing player of any possible
exploitation value, will satisfy as part of a double bill, if
given the proper merchandising. The story is an admittedly
trite-and-tried yarn — effort by a Nazi spy to kill off a notori-
ous Italian partisan during the grim days of World War II —
and the acting portions, while not distinguished, are suf-
ficiently appealing, at least for that audience segment
clamoring for constant action. If anything, perhaps, the at-
traction goes to prove anew that an actor, unless tre-
mendously gifted and qualified, should contain his efforts
strictly before the cameras. Nicol may be competent indeed
as an actor— he's been working steadily — but when he at-
tempts to take on added responsibilities as producer and
director, the chore seems overwhelmingly complex, his
talents spread too thin for the good of the overall effort. The
kiddie audiences, accustomed to shouting encouragement to
the downed man-of-the-right, will find in this States-Rights
release more of the same, and go forth in the late afternoon
twilight anxious perhaps to spread the word-of-mouth so

necessary to product of this particular calibre. Filmed in

Italy, the dark photography leaves much to be desired.

Alex Nicol, Frank Latlmore, Barry Cahill, Sid Clute,
Michael Billingsley, Frank Gregory, Fred Clark.

li-

Murder She Said F 5 £i

MGM (208) 87 Minutes Rel. Feb. 02

The devotees of that indomitable British dowager, Margaret
j, 000 Rutherford, (and her name is legion among art house
Eas y regulars) and the hordes of "who-dun-it" fans who devour
Agatha Christie's paperbacks will have a field day in this
compact British-made murder mystery. With the American
Arthur Kennedy featured in an otherwise all-English cast,
the picture is strong art house fare or will make a good
supporting dualer generally. Produced by George N. Brown
and directed by George Pollock, the story, based on Miss
Christie's "4:50 From Paddington," starts with a strangling
which is glimpsed from a passing train with the identity
of the killer withheld right up to the climax (except for
those who read the book, of course). The role of the spinster-
sleuth, Miss Marple, is a natural for the paunchy, double-
chinned Miss Rutherford and she dominates almost every
moment of the film with her eccentric doings. But another
British regular, James Robertson Justice, makes the most of
his scenes as an irascible invalid and Stringer Davis (Miss
Rutherford's real-life husband) adds a delightful bit as a
timid librarian. Kennedy and Muriel Pavlow contribute a
touch of romance and Ronald Howard and precocious Ronnie
Raymond also stand out in the fine supporting cast.

Margaret Rutherford, Arthur Kennedy, James Robertson
Justice, Muriel Pavlow, Ronald Howard, Thorley Walters.

tyi r , t > 7 IT Ratio: Drama

T oo Lctte Blues r 1.R5.1

Paramount (6109) 110 Minutes Rel. Jan. 62

;ig

'k-

Two readily discernible assets — the popularity of young
singer Bobby Darin and the current accolades heaped on
director John Cassavetes for his recently released "Shadows"
— may garner this offering enough attention to make it a
satisfactory grosser in most situations, particularly those
catering to youthful audiences. On the debit side, however,
is an over-lengthy screenplay by Cassavetes and Richard
Carr into which the duo apparently was determined to throw
ants ever T dramatic situation in the book — the good girl fallen
ssipp into prostitution, attempted suicide, hero selling his integrity.
It's all pretty sordid, despite a few deft touches of comedy,
and it's doubtful that even the most addicted Darin fans will
hail the result. In his dramatic role, Darin shows promise of
becoming one of filmland's brightest histrionic stars. His
interpretation of the tortured young jazz pianist is taut,
albeit he is at his best in the lighter sequences. Newcomer
Stella Stevens brightens the proceedings with her beauty
and does well by her grim role, and there's a David Raksin
musical score played by top musicians to please jazzophiles.

Bobby Darin, Stella Stevens, Everett Chambers, Nick
Dennis, Vincent Edwards, Val Avery, Marilyn Clark.

in-

The Three Stooges Meet Hercules F Co " ,e " y

Columbia (617) 89 Minutes Rel. Feb. '62

Singularly unrelieved by any spark of genuine fun, "The
Three Stooges Meet Hercules" is not likely to amuse even
eager-to-be-amused youngsters, except of the giggliest sub-
teen variety. Starting out with a stark announcement "Filmed
in glorious Black and White," there follows a main title
consisting of cut-out pen-and-ink sketches by Norman Maurer,
producer of the film, which seem to be culled from an ancier.t
scrapbook. Credits are given both on the screen and by a
narrator. The sketches involve the Three Stooges with
famous characters of history capped by Hercules. What
follows is equally a patchwork. The Three Stooges go about
their work grimly and without any form of warmth or appeal.
Slapstick there is, of the clumsiest and most ancient variety.
Direction is inadequate and the producer seems unable to
make up his mind whether he is offering low comedy or
satire. As Hercules, Samson Burke is more than adequate
in the muscle department, better than expected as an actor,
Vicki Trickett, supplying the femme appeal, looks promising
as both a personality and actress, when given an op-
portunity. Attempts at spectacle, satirizing "Ben-Hur," are
t patently hoked-up and amateurish.

The Three Stooges, Vicki Trickett, Quinn Redeker, George
N. Neise, Samson Burke, Mike McKeever, Marlin McKeever.

The reviews on these pages may be filed for future reference in ony of the following ways: (1) in any standard three-ring
loose-leaf binder; (2) individually, by company, in any stan dard 3x5 card index file; or (3) in the BOXOFFICE PICTURE
GUIDE three-ring, pocket-size binder. The latter, including a year's supply of booking and daily business record sheets,
moy be obtained from Associated Publications, 825 Van Brunt Blvd., Kansas City 24, Mo., for $1.00, postage poid.

2598

BOXOFFICE BookinGuide :: Jan. 22. 1962

2597

FEATURE REVIEWS Story Synopsis; Exploits; Adlines for Newspapers and Programs

THE STORY: "Murder She Said" (MGM)

Returning by train from London to her cottage in the
country, Miss Marple, an eccentric spinster (Margaret Ruther-
ford), sees a man strangle a woman on a passing train, -rny,
When the police find no trace of a body, they believe Miss (J hl ^
Rutherford imagined it so she determines to track down "
the murder herself. Reasoning that the body must have been
thrown from the train, she gets a job as servant in the
estate nearest the railroad track. The members of the
family there, headed by the irascible invalid, James Robert-
son Justice, all come under suspicion after she finds a
woman's body hidden in the bam. The police then need
her help. After two other murders take place and Margaret
narrowly escapes a similar fate, she is able to present to
the police the identity of the killer.

EXPLOITIPS:

Two big selling angles are Margaret Rutherford, famed
for her eccentric comedy roles from "Blithe Spirit" to the
recent I'm All Right, Jack," and author Agatha Christie,
whose murder mysteries have sold into the millions. Book-
stores will cooperate with window displays of Christie paper-
backs, including "4:50 From Paddington" from which this
was adapted. Arthur Kennedy was in "Elmer Gantry."
CATCHLINES:

Margaret Rutherford, the Last Word in Detectives, and
Agatha Christie, the First Lady of Mystery, Bring a Killer
to Justice ... A Rare Treat of a Murder Mystery.

THE STORY: "Too Late Blues" (Para)

Dedicated jazz musician Bobby Darin and his combo hold
to their ideals, despite the fact that it keeps them from get-
ting a big break in the music world. While waiting for fame
and fortune, Bobby meets Stella Stevens, a timid vocalist,
and they fall in love, incurring the wrath of agent Everett
Chambers. Pretending friendship, Chambers arranges an
audition for the group and, although Bobby must sacrifice his
music for small money in the deal, he agrees to do it for
Stella's sake. While celebrating the break at a local bar-
room, Chambers incites a fight between Darin and one of
the guests. Bobby takes a beating and, humiliated in front of
Stella, curtly dismisses her. Heartbroken, she becomes a /(UA
drifter and prostitute, while Darin sells himself to a rich w
patroness. Ultimately, Bobby and Stella find each other and
return to the old life with the combo.

THE STORY: “The Day the Earth Caught Fire" (U-I)

As Edward Judd, reporter on the London Daily Express, is
writing his biggest news story in a completely evacuated
city, the scene flashes back to the day when he and the /
paper's science reporter first dug up the reason for the is-
world's unseasonable weather-climactic upheavals that re-
sulted when both America and Russia conducted simultane-
ous nuclear tests and the combined jolt shifted the earth's
orbit. With the planet racing toward the sun, temperatures
are at record highs and drought sets in, all of this information
gathered by Judd through his romance with Janet Munro, a
switchboard operator at the meteorological office. As Judd's
paper tries to tell the facts without alarming the populace,
water has to be rationed and people start fleeing London for
colder climes. A possible solution lies in exploding four giant
bombs simultaneously in different parts of the world to try to
save a doomed civilization. Nations of the world unite in this
scheme and the populace goes underground. Only Judd
and a few brave newspapermen wait to write headlines
as to whether or not the world is saved from destruction.
EXPLOITIPS:

Play up the sensational title and the "end of the world"
theme to attract action fans, science-fiction enthusiasts, etc.

CATCHLINES:

The Picture That Explodes Like a Bomb in. Your Lap . . .

They Found Time for Love As the World Came C